Film review 'Gone is the One Who Held Me Dearest in the World ' (2002)

There are a significantly increase on female filmmakers in China in the twenty century, most of them are focusing on the issue of female consciousness of the time. The living condition of modern women is improved noticeably while, women themselves, are struggling with self-awareness. To explain ‘woman consciousness’, in my opinion, is a procedure that women are seeking for their own identities in opposition to male expectations of female identity, to become the ideal figure against the cruel existing circumstances. In western countries the development was steps ahead, in English writer Charlotte Brontë’s novel ‘Jane Eyre’ this concept was articulated in 1840s. Yet not until 1990s the revolution began in the mainland China. Director Liwen Ma was accomplished in expressing subtle sentiments, as well as keeping it real but not exaggerates. 'Gone is the One Who Held Me Dearest in the World ' is the film directed by female director Liwen Ma in 2002, adapted by the novel the same title，it's a story of a relationship between a gerontic mother and her daughter.

Middle-age female writer Jie Zhang did not realize that time was running out when her mother has going senile quickly and was finally diagnosed encephalatrophy and cataract. She starts to regret that for years she had neglected her mum and decided to take care of her at her last days. The film catches the difference between women in two generations. Most of the women born in 1930s were not well educated, they have strong family views, husband and children are forever their priority beyond themselves. Like Jie's mother in the film, she is considerate, thrifty but extremely stubborn that she prefer to use tower instead of toilet paper,as a result it leads to  urinary tract infections. Jie, as a representative  of women who born after the foundation of the People's Republic of China, has received a  proper education and have their own career. They are independent but on the other side, they are detached with their families. The female characters are all strong characters in their own ways. The main female character, Jie(the daughter), shows her strength in dealing simultaneously with the stress of her mother's illness, her job and her indifferent husband. Her mother is strong in her determination to have the surgery and her attempts to recover for keeping hope for her daughter and grand-daughter. The servant Xiao Yue shows her strength in continuing to serve Jie’s mother after her dementia is getting serious. In contrast, the male character in the film—the husband is presented as weak, selfish and unconcerned.

In terms of narrative the film is straight forward, tells a story in chronological order with voice-over of Jie's interior monologue like a diary, accompanied by the well-designed mise-en-scène to present the natural atmosphere. The camera perspective is aligned with the perspective of the female leading throughout the film , especially close-ups, convey the idea of “woman’s gaze”.

Reference

[1] http://www.fareastfilm.com/EasyNe2/LYT.aspx?Code=FEFJ&IDLYT=15535&ST=SQL&SQL=ID_Documento=23 (08/09/2013)

[2]

http://intersections.anu.edu.au/issue16/vanderstaay.htm (08/09/2013)