Ermo
| Ermo | |
|---|---|
 |
|
| Directed by | Zhou Xiaowen |
| Produced by | Chen Kunming Jimmy Tan |
| Written by |
Xu Baoqi Lang Yun |
| Starring |
Ai Liya Liu Peiqi |
| Cinematography | Lu Gengxin |
| Edited by | Zhong Furon |
|
Release date
|
August 1994 (Canada) 12 May 1995 (U.S.) 23 June 1995 (UK) |
|
Running time
|
98 min |
| Language | Mandarin |
Ermo (Chinese: ; pinyin: Èrmó) is a Chinese comedy/drama film, released in 1994 and directed by Zhou Xiaowen. It is essentially a satire on Western consumerism and its influence on Chinese culture.
It was adapted from a novella written by Xu Baoqi. Tan Ye and Yun Zhu, authors of Historical Dictionary of Chinese Cinema, wrote that Ermo "observes the new trends of capitalism and consumerism in rural China at the beginning of the reform era".
Zhou Xiaowen, the director, said that "In China, money was once a synonym for filth. Now money has become a god. But will [this god] be able to satisfy his people?"
Ermo is a hardworking village woman in the northern province of Hebei, who makes noodles to feed her husband and child. When her neighbor buys a brand new television, she is consumed by dreams of owning one herself. Desperate to own the largest television in the village, she becomes obsessive in her desire to earn money, eventually leaving the village to work in town. Her efforts to earn enough money damages her health and her relationship with her family.
The film demonstrates new trends and changes the Chinese society during the reform era and the different attitudes between those who joined the capitalist race and those who remained behind. Ermo becomes a wise merchant (even if she only sells dry noodles) and a consumer full of aspirations, while her elder husband still drinks his Chinese medicine and sees himself as the former head of village, a role which was meaningful during the Mao era. While Ermo is becoming more and more attracted to Xiazi, her business-oriented neighbor, and the lifestyle he represents, her husband remains impotent, both physically and metaphorically. As the film progresses it is evident that the competent capitalist-minded characters also do not find satisfaction, though it is also clear that those who don't join the race are completely irrelevant in the modern society.
Public Secrets, Public Spaces: Cinema and Civility in China, wrote that the narrative's space in Ermo has a "sense of desperation and inevitability" because the film's narrative was "filmed in a series of claustrophobic places".
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Wikipedia