Based on the homonymous novel by Yan Yan, “The Postmodern Life of My Aunt” features two superstars in the faces of Chow Yun-fat and Zhao Wei, although the main role is reserved for the exceptional Siqin Gaowa, who won the Best Actress Award at the 27th Hong Kong Film Awards. The movie is set and was filmed in Shanghai and in Anshan, Liaoning, with the latter being the birthplace of Ann Hui.
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Ye Rutang is a single-living woman in her late fifties, who struggles to maintain a dignified life in the chaos that is Shanghai,. Her “tortures” seem to come from everywhere. From her neighbor Mrs Sui, whose constant gossiping is as annoying as her pompous cat. From her spoiled nephew Kuan-kuan, who visits her only to highlight the generational gap between them, before he disappears without leaving a notice, only to appear a few days later claiming he was kidnapped. From Pan, an ex-Opera singer who tries to squeeze everything he can from her with his charming ways. Even from strangers in the street, who try to exploit her good nature. And yet, Rutang deals with all of them with kindness, continuously giving in to their shenanigans, only to be tricked again and again. The appearance of her estranged daughter, Liu Dafan, adds another issue to her life, while shedding some light to her past. As time passes, however, her situation becomes more dramatic than comic.
Ann Hui directs a film that is essentially split in two parts, with the dichotomy appearing just before the appearance of Liu Dafan. The first part follows a path that, despite the dramatic events, is more comedic in its base, with the rapport between Rutang and Pan being its main source. Chow Yun-fat’s clowning works wonders here as much as his antithesis with Siqin Gaowa’s Rutang, with the ways he manages to charm her even if she knows her true nature, being among the best moments of the movie.
As time passes, however, drama takes over the narrative, with the injury the protagonist suffers and the appearance of her daughter changing the scope of the movie completely, to the point that the ending could be described as genuinely melodramatic. Zhao Wei in the role of the daughter is also quite convincing, with her bitterness filling the screen while also highlighting a side of Rutang that was not visible, that of someone willing to take her life in her own hands.
The transition, however, is not that smooth, since the focus changes almost completely to Liu Dafan in a point that the viewer is invested in the protagonist and her performance. Furthermore, the fact that Rutang’s past is revealed rather late in the movie faults the overall narrative, making her appear completely disconnected from her past and thus, difficult to understand her overall motives. In that regard, the editing by Liao Ching-Song emerges as rather faulty, even if the pacing of the movie actually suits its overall aesthetics.
On the other hand, when the past is revealed, the reasons she remained in Shanghai despite her many troubles, are presented rather eloquently, also making a comment about the ‘Chinese Dream’ of moving from the poor parts of the country to the megalopolis, and how difficult it actually is to make it there.
Furthermore, Kwan Pun Leung and Nelson Yu Lik Wai’s cinematography is quite good, with them portraying the claustrophobic setting of Shanghai and particularly of the apartment, with realism and colourful artistry, with the exact opposite taking place in the Anshan segments, which are painted with the bleakest colors. Lastly, Joe Hisaishi’s score is excellent, particularly in the last segments, with the atmosphere of despair emitted, owing much to his soundtrack.
“The Postmodern Life of My Aunt” has its issues, and the transition away from Siqin Gaowa does not work well for the end result. However, there are enough social comments here to carry the movie for a large part of its duration, while the shenanigans of the first part are bound to entertain all viewers.
