Established on an enthralling trustworthy backdrop of Mao-era communism where exhibiting of industrial, banking and commercial nationalization is perceptible. Swathed with political milieu and narrating the dealings of Cultural Revolution. Coming Home depicts a tear-jerking spectacle of everyday lives in the midst of crisis where essential principles are under siege. The film is truthfully heartrending, especially with the feathery, mellow-harsh piano that lulls the characters persuasiveness, and you have Gong Li’s authentic steadfast gravity that pulls your heart string out, competently matched by Chen Daoming charisma that plays her tormented, zealous husband.
The melodramatic tale extents insurgencies and years; the fundamental connection is a love affair that it can even endure one of the partakers no longer distinguishing the other. Feng Wanyu (Gong Li) on her identifiable form state of bowdlerization fails to distinguish her husband Lu Yanshi (Daoming Chen) after being acquitted and discharged from a labor camp in the northwest. He yields to find Feng suffering from amnesia caused by the head injury on the day of his re-arrest. Dandan (Zhang Huiwen) who has abandoned ballet to work in a factory helped in associating her parents. The struggle continues as both bargains their ways back in each other’s arms. Feng, who is totally lost of her past and yields every five months on the train station standing despondently, hoping for her husband’s return. Yet, Lu progresses approach to win her back, a piano tuner making music house calls, most efficaciously posturing as a letter reader who reads aloud the words he himself wrote to her.
Zhang Yimou (House of Flying Daggers, The Curse of the Golden Flower) imaginative conviction makes the whole production exceptional. Coming Home is mostly set around genuinely constructed low-spirited house block, the train station, locals that add shades that make the room enthralling. As the drama unfolds components of light, falling leaves, sound of a toothbrush and rain stretches the whole set an extravagant zest of perfection.
The discourse is the social perspective that seems to be related much to the current audience. This is a family love story, something different heartstrings plucked and throats soared as the characters find redemption. The culmination of the scuffle and misunderstanding is when Feng (talking to Dandan) articulated, “I’ve cared about no one but you all your life. It’s time I think about your father.” An extraordinary and cherished scene that will congregate questions to respective viewers as to what collective denial is to be in a mother-child relationship without the stronghold foundation, the father.
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Coming Home is a whisper conversation that no one could hear but your heart. After watching, the corners of my eyes were burning, it feels like purity of love pierced my sentiment. How is it possible for the world to be beautiful and cruel at the same time? With the almost fanatical patience that I know, Gong Li in particular, makes me want to freeze with her as she waits for her husband.
I stay as long as I plausibly could, exclaiming, admiring and overwhelmed while trying to map the orchestral credits of the film and from time to time, remembering that Feng is somewhere within the theater, whispering, “Come home with love.”
