Over the past two decades, there has been a tendency in China for younger generations born under the one-child policy to be portrayed as selfish and entitled, depriving previous generations of their hard work (in a completely different way than millennials are portrayed). However, now that this generation is almost outnumbering their elders, the tide is beginning to shift. Directed by 34-year-old Zhou Ziyang, "The Old Beast" shows that the misconduct of an aging man shocks young relatives, who can use everyone on his journey, even his sick wife, to achieve his little ambitions.
Directed by renowned Chinese director Wang Xiaoshuai (who directed 2001's Seventeen-Year-Old Bicycle, 2005's Qinghong and 2008's One/2008), the film takes family conflict to another level, home of writer and director Zhou Ziyang, a city often described as a "modern ghost town" and "failed utopia."
Screenwriter and director Zhou Ziyang's plays are rich in themes, and as one would expect from such family dramas, naturalism and material imagery draw audiences to a China witnessed by three generations. Camels, cows, birds and cats can be seen everywhere, each surrounding the city where Lao Yang is located. His value for love and money is equal, and the price is calculated at the price of the animal he wants to sell.
The first time we saw Old Yang was when he rode his motorcycle through the empty streets. He presents a very funny image, looking very short against the background of the electric bicycle, and he wears a well-designed turban on his head, which looks much larger than his body, which also indicates his bad taste behavior. Given his previous successes in playing Genghis Khan, it may not be a coincidence that veteran actor Tu Hassan was chosen for the role. It's a story about a man who was once considered great, who had fallen and abused the people around him. Lao Yang gambled on the money his wife needed for medical treatment, stole money from friends, and wanted to borrow money from his young relatives. He drank heavily, went to the sauna, and was courteous to his mistress. It's a game that can't be continued, but he can't stop either, and the role of Lao Yang is full of irony, and he is draining the efforts of those around him.
Despite the simplicity of the plot, the script is often filled with black comedic overtones, in which the film background is important. At the turn of the century, the government feared overcrowding in some large cities and was keen to boost economic development in other regions, starting to invest in new cities wherever there were prospects for industrial success. Located in a coal mining district in Inner Mongolia, Ordos's spectacular architecture is reminiscent of the utopias of science fiction in the 50s. No new city has been bigger and more majestic than it, and no city has failed so spectacularly.
Today, only one-third of Ordos is inhabited. Old Yang rode through the streets on an electric bicycle, and wandering the streets wearing the old sunglasses that he still thought was cool, it was better to try to impress the ghost town. He learns from Western fashion and behavior, but sees himself as part of Chinese history. The young characters in the film do not appear as saints, but live their lives in a calm and pragmatic way. What really sets them apart from their ancestors is that they refuse to honor their elders solely out of responsibility—they want Lao Yang to be responsible for themselves.
Although The Beast was a bit too crude from a dramatic point of view, it was still an important film, a bold film considering political factors such as state patrons and censors at the time. This is a battle cry for change, a bold declaration of a new generation ready to take the stage of history, and a brand-new Chinese dream is giving off its voice that deserves our careful listening.