A little girl, Mui, went to a house as a new servant. The mother still mourns the death of her daughter, who would have been Mui’s age. In her mind she treated Mui as her daughter. 10 years later Mui (now a young woman) was sent to another family, a young pianist and his wife. The musician falls in love with the peasant, he taught her literacy and they eventually married. A movie about a girl’s life. –IMDb
Trần Anh Hùng (born December 23, 1962) is a French film director of Vietnamese ancestry.
He was born in Đà Nẵng, Central Vietnam, and emigrated to France when he was 12 following the fall of Saigon at the end of the Vietnam War in 1975.
Being exposed to and loving classic films, Tran indicated the immense effect they had upon spurring his film-making desires. Admittedly, Bergman, Tarkovsky and Kurosawa all had a hand in the evolution of his directorial aspirations.
His Oscar-nominated debut (for Best Foreign Film) was with the The Scent of Green Papaya (1993) which also won two top prizes at the prestigious Cannes Film Festival, and his followup Cyclo (1995) featured top Hong Kong movie star Tony Leung Chiu Wai, also eventually nabbing a top prize at the Venice International Film Festival. The Vertical Ray of the Sun, released in 2000, was the third film in what many consider now to be his “Vietnam trilogy.”
After a sabbatical, it… read more
Beautiful cinematography - the film evoked the preciousness of domesticity, considering that those seemingly mundane activities make up the life of each human being. This film is largely poetic and multilayered, the director is seemingly exploring life from its basis, nature and human relations. The significance of the papaya symbolism was developed subtly, though simplistically.
This film evokes a world long in the past that did not exist to begin with. It is a simple fairy tale, but also something else. Perhaps most interesting is that despite being set in the time period no mention is made of the Indochina Wars. The movie is completely cloistered in its own world. This movie is pure visual splendor. On one level it is the story of the servant girl Mui who becomes the wife of a handsome pianist. It is the quintessential Cinderella tale. And yet director Tran Anh Hung layered the film. There is always an undercurrent of doom that threatens to just spill over. But there are problems. First, I enjoyed the second half where we see Mui as an adult (played by Hung's radiant wife Tran Nu Yen Khe), maybe because I fell for her wide eyed innocence, but it is not as long or as detailed as the first half. Second, the movie feels almost too perfect. Everything was done right, every frame, every movement, every color, but something just kept nagging at me. Like something was missing. A certain rawness. The greatest movies are the ones that have some mistakes, the ones that are just a tad bit messy, and in romance that messiness is important. Finally near the end it popped up a little, but still, it just felt too polished. Really, though, this is a lovely, seductive film. I look forward to seeing the rest of Hung's Vietnam trilogy.
maybe the polished feel that it gave you was due to it all being filmed on a soundstage in france. i was shocked how obvious it was to me from the very first scene of her walking down the alleyway. at the time i didn't even know it was soundstaged and could tell, gave me similar feelings of it lacking in the way you mentioned.
On sent que c’est un film sur l’Asie réalisé par quelqu’un ayant une forte culture occidentale. Tran Anh Hung décide de revenir sur son pays qui l’a vu naître, mais filme le tout comme un Français… read review
casi de acuerdo contigo jan, excepto porque más allá de las cuestiones de forma que describes puntualmente y que la separan de las narraciones tradicionales fundadas en mucho en la palabra, la cinta… read review
Saigòn, Vietnam,1951. Una calida y silenciosa noche de verano. Desde el fondo de un callejòn, aparece la figura de una pequeña niña de 10 años de edad de nombre Mui (Man San Lu), quien ha sido llamada… read review