Director: Zhou Ziyang 周子陽
Studio: Dongchun 北京東春, Beijing Daqiao 北京大橋, Fangjin 方金, Having Me 有我， Beijing Huiren 北京惠人
Language: Mandarin 普通話, Mongolian 內蒙古方言
Running Time: 112 minutes
Lao Yang spends his days gambling, fooling around with his mistress, and, occasionally, looking after his paralysed wife. Having lost all his wealth investing in Inner Mongolia’s property boom, he now spends his days wondering the streets of Ordos.
Along with an old friend he goes for a night drinking and then to a massage parlour, ignoring his wife’s phone calls. The next day, he agrees to look after his friends camel for a few days — before selling it for some cash and a bag of meat.
While he’s away, the rest of his family struggle to get together 30,000 RMB to pay for surgery for his wife, who is desperately ill haven fallen whilst Lao Yang was out.
Eventually, they get the money together, and Lao Yang makes his way to the hospital after spending the day with his mistress. To the rest of the family’s horror, the surgery money disappears from the hospital room; Lao Yang has taken it to buy a cow to repay his friend for selling the camel.
Furious the family decide that they cannot stand Lao Yang’s behaviour any longer and band together to force him to sign a contract. But Lao Yang is not willing to admit any fault, and the family’s already strained ties are about to be broken…
It’s always a pleasure to be able to review new talent, and this was a real treat. Produced by Sixth Generation luminary Wang Xiaoshuai 王小帥, there is plenty in here which recalls the style of filmmakers such as Wang, but newcomer Zhou Ziyang does puts his own mark on this film.
The first thing to say about Old Beast is its choice of location. Ordos in Inner Mongolia is known outside of China mostly for being the site of a notorious “ghost city”, and the failed property market is occasionally referenced as the cause of Lao Yang’s poverty. Empty skyscrapers make occasional backdrops; they are dark, imposing outlines against the flatness of the Mongolian landscape.
Zhou mostly sticks to the stark realism of most of his contemporaries, but, like Jia Zhangke before, occasionally throws in surreal moments. A bird trapped in a wall; a strange skittering ghostly figure; an emaciated horse. All serve to tell a small part of Lao Yang’s character, the old beast himself.
From the synopsis, I’m sure readers think he is a despicable character. And, in many ways, he is. He is flawed and seemingly selfish to the very core. When he refuses to negotiate with his son and son-in-law, condemning them to six months in prison, it comes as no surprise.
Yet throughout, there are moments that we as an audience can see why he is as he is. All his wealth taken by lies. A wife who cannot move. He sells his friend’s camel after promising to look after it … but only to buy him a cow which he can use to make a living. He steals his wife’s surgery money to buy his friend the cow … but his friend had lent him the money for his son’s bride price. He turns up unannounced at his daughter’s asking for money … but the money is for his wife’s surgery.
None of the above is an excuse for the action Lao Yang takes, and yet all of them help us to understand why he did it. That’s the wonder of the character that Zhou has constructed.
No good character can exist without a good actor to bring them to life. In Old Beast, Tu Men 涂們 gives a performance which truly portrays the pride and inability to express emotions that is inherent in men everywhere, but especially of a certain generation. In China, this is often compounded by concepts of filial piety, in which the older male generations must be completely respected but also completely in control. What happens when their pride and respect is taken away is at the heart of Old Beast.