7.8/10
665
2 user 13 critic

Qing mei zhu ma (1985)

Not Rated | | Drama | 1985 (Taiwan)
Lung, a former member of the national Little League team and now operator of an old-style fabric business, is never able to shake a longing for his past glory. One day, he runs into a forme... See full summary »

Director:

Reviews
3 nominations. See more awards »
Learn more

People who liked this also liked... 

Drama
    1 2 3 4 5 6 7 8 9 10 7.8/10 X  

Two friends who haven't seen each other for thirteen years reunite. One is a successful concert pianist just back from a European tour and the other has just started a new business.

Director: Edward Yang
Stars: Sylvia Chang, Ming Hsu, Terry Hu
Crime | Drama
    1 2 3 4 5 6 7 8 9 10 7.9/10 X  

A metaphysical mystery about the lives of three couples in Taipei that continually intersect over a span of several weeks.

Director: Edward Yang
Stars: Cora Miao, Li-Chun Lee, Wang An
Du li shi dai (1994)
Comedy
    1 2 3 4 5 6 7 8 9 10 7.7/10 X  

After firing a colleague, the head of a PR company begins to question her lifestyle and values.

Director: Edward Yang
Stars: Li-Mei Chen, Shiang-chyi Chen, Yi-wen Chen
Ma jiang (1996)
Comedy | Drama
    1 2 3 4 5 6 7 8 9 10 7.6/10 X  

When a well known businessman goes missing, owing $100m to Taipei's underworld, two hoods decide to follow his son, the leader of a youth gang. A small group of trendy foreigners gets caught up in the action.

Director: Edward Yang
Stars: Chen Chang, Nick Erickson, Kaizô Hayashi
Crime | Drama | Romance
    1 2 3 4 5 6 7 8 9 10 8.4/10 X  

Based on a true story, primarily on a conflict between two youth gangs, a 14-year-old boy's girlfriend conflicts with the head of one gang for an unclear reason, until finally the conflict comes to a violent climax.

Director: Edward Yang
Stars: Chen Chang, Lisa Yang, Kuo-Chu Chang
Drama
    1 2 3 4 5 6 7 8 9 10 7.2/10 X  

Four short films from four different directors, spanning from the 1950s to the 1980s.

Directors: Yi Chang, I-Chen Ko, and 2 more credits »
Stars: Emily Y. Chang, Sylvia Chang, Chi Chen
Yi Yi (2000)
Drama | Romance
    1 2 3 4 5 6 7 8 9 10 8.1/10 X  

Each member of a middle class Taipei family seeks to reconcile past and present relationships within their daily lives.

Director: Edward Yang
Stars: Nien-Jen Wu, Elaine Jin, Issei Ogata
Crime | Drama
    1 2 3 4 5 6 7 8 9 10 7/10 X  

In order to keep his ailing son alive, an impoverished man agrees to sneak a herd of sheep across the border.

Director: Lütfi Akad
Stars: Yilmaz Güney, Pervin Par, Erol Tas
Revenge (1989)
Drama | History
    1 2 3 4 5 6 7 8 9 10 7.2/10 X  

After their son is murdered a couple raise a second son to avenge him.

Director: Yermek Shinarbayev
Stars: Aleksandr Pan, Valentina Te, Kasym Zhakibayev
Crime | Drama
    1 2 3 4 5 6 7 8 9 10 7/10 X  

The eldest daughter of a broken and troubled family works to keep the family together and look after her younger siblings, who are slipping into a life of crime.

Director: Hsiao-Hsien Hou
Stars: Lin Yang, Jack Kao, Shu-Fang Chen
Insiang (1976)
Drama
    1 2 3 4 5 6 7 8 9 10 7.7/10 X  

The first Filipino film to show at the Cannes Film Festival is set in the slums of Manila. A beautiful girl gets raped by her mother's lover, and then learns how to exact revenge.

Director: Lino Brocka
Stars: Hilda Koronel, Mona Lisa, Ruel Vernal
Drama | Mystery
    1 2 3 4 5 6 7 8 9 10 7/10 X  

This film is an experimental mix of documentary and fiction. The film crew travels from the Thai countryside to Bangkok, asking the people they encounter along the way to continue a story ... See full summary »

Director: Apichatpong Weerasethakul
Stars: Djuangjai Hirunsri, Kongkiat Khomsiri, Saisiri Xoomsai
Edit

Cast

Credited cast:
Chin Tsai ...
...
...
...
Hsiu-Ling Lin ...
A-Ling
Rest of cast listed alphabetically:
Shu-Fang Chen ...
Te-Nan Lai
De-ming Lyu
Nai-Chu Ting
Ping Nan Wu
...
Qin
Shu-yao Yang
Edit

Storyline

Lung, a former member of the national Little League team and now operator of an old-style fabric business, is never able to shake a longing for his past glory. One day, he runs into a forme teammate who is now a struggling cab driver. The two talk about old times and they are struck by a sense of loss. Lung is living with his old childhood sweetheart Ah-chin, a westernized professional woman who grew up in a traditional family. Although they live together, Ah-chin is always weary of Lung's past liason with another girl. After an argument, Ah-chin tris to find solace by hanging out with her sister's friends, a group of westernized, hedonistic youths. Written by Anonymous

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

Not Rated | See all certifications »
Edit

Details

Official Sites:

Country:

Language:

| |

Release Date:

1985 (Taiwan)  »

Also Known As:

Taipei Story  »

Box Office

Opening Weekend:

$7,333 (USA) (17 March 2017)

Gross:

$7,333 (USA) (17 March 2017)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
See  »
Edit

Did You Know?

Quotes

Lung: He killed someone once. A black person. Later the police came and he was acquitted. He said that in the States, if you see a suspicious person in your yard, and if you can shoot them dead, drag them into your house and plant an unregistered gun on them. They call it self-defense. You're not guilty.
See more »

Connections

Featured in Naamsaang-neuiseung (1998) See more »

Soundtracks

Footloose
(uncredited)
Performed by Kenny Loggins
See more »

Frequently Asked Questions

This FAQ is empty. Add the first question.

User Reviews

 
Superlative early Edward Yang.
19 July 2001 | by (dublin, ireland) – See all my reviews

Although all Edward Yang's films deal with similar themes, characters and milieux, it has been common to divide his work into three relatively distinct categories - the multi-character panoramas (e.g. 'Yi yi', 'A brighter summer day'); the satiric comedies (e.g. 'A Confucian confusion'); and the formalist, Antonionian studies in urban alienation (e.g. 'The Terroriser'). These latter are the most difficult to watch, with narrative rigorously fragmented, characterisation distant, the ugly, monumental urban backdrop dominant.

On the surface, 'Taipei Story' seems to belong to this category. Its opening sequence is similar to the tone of 'the Terroriser'. A couple are checking out an empty apartment the woman hopes to move in to. Yang emphasises the inchoate nature of the apartment, its emptiness, its forbidding whiteness and angularity - the first thing you notice about an empty apartment is how many walls it has. The woman talks a lot about what she hopes to do with it, but the characters' expressions are as blank as the rooms that surround them. We wonder if the apartment is a projection of their relationship's hollowness, or a sign of its future, its beginning, something to be filled up with life.

Yang's way of filming his characters in this space, blocking them off from one another by walls, framing them in doorways etc., certainly seems to suggest a distance in their relationship. After all, the man is just about to go to America on a business trip - this very ritual of togetherness is shadowed by an upcoming rupture.

As in 'Terroriser', there is something almost metaphysical about this scene, which seems to be about the material (walls, floors etc.). There are traces of previous occupants. The woman talks about what she intends to do with the room. Yet between the past and the future, these characters exist in a very empty present tense, ghosts in the house of predecessors and future selves. This feeling of being and yet not being quite there is quite familiar in Yang's work - we see it in the dream narrative of 'Terroriser', for example. One of his most recurring devices is to film action in window-reflections or mirrors, visualising the theme of alienation so central to his work (alienation from family, work, city etc.), but domesticating it, showing that the bigger alienations start with an alienation of the self. The vast jungle of the skyscraper-laden city is thus a literally monumental backdrop for the human shadowplays that comprise the drama.

As in the best novels, the best films crystallise their thematic and narrative intentions in the opening scene, which is why this sequence is so important. It also structures the narrative to come, which will chart the fragmentation of the relationship, and the separate, doom-laden destinies of the lovers. But although everything points to 'Taipei story' belonging to the third category, there is a humanism at work that brings it closer to the first. In 'Terroriser', the characters' lack of character was a crucial thematic element, but made it difficult for the viewer to be interested in their fate, forcing him/her to concentrate on their formal properties as part of the overall mise-en-scene.

In 'Taipei story', as in 'Yi Yi', we are closer to 3-D characters, we are given insight into their personalities, their histories, their desires, their frustrations. We see them at work, at play, at home. We see them interacting with the city, even as they are defeated by it, rather than simply ground down by it. this is not to suggest a softening of Yang's formal rigour (there is none of the saccharine miramaxmusic of 'Yi yi' for instance), but in this case it is poignantly counterpointed by the characters, used to express their predicament, rather than a more abstract theme. Yang's greatest strength is the way he can turn a teeming city into an empty dreamscape, or turn the familiar everyday into something uncanny by moonlight. He could almost be a Surrealist.


29 of 30 people found this review helpful.  Was this review helpful to you?

Contribute to This Page

Create a character page for:
?