Chang Mian Appealing to one of the most basic themes of human nature-- the grass is always greener.... Ermo struggles to regain her family's lost prestige in a remote mountain village and win back her son's straying attention and allegiance(?) by winning the battle of keeping up (and beating) the Jones's-- Chinese style.What could have been a very heavy handed commentary on the perils of capitalist greed turns out of be a extremely charming comic satire instead. Clearly, one of the most overlooked and underrated Chinese films of its time! There's still a morality tale here but it's a genuinely delightful one replete with an endearing heroine, a whiny husband, and the delightfully wicked neighbor-lady-next door. There aren't many films that can serve up a palatable cautionary tale with a side of noodles to boot-- but this one certainly does. This film is definitely a must for Chinese film fans.

zzmale As a matter of fact, it happened quite frequently in China. This is the struggle of common people who were near the bottom of the society, without wealth or status. They do not desire much, a television set would be very satisfactory and they work diligently to accomplish their goals, and eventually success in the little progress made in improving their lives.

visagrunt A wonderful film.Ermo ("Second Girl")--a woman not even given a proper name--never wavers from her quest. Her singleminded pursuit is both heartening--as we come see her drive and self-discipline; and heartbreaking--as she, and we, see it for the empty goal it is.For Westerner's, who rarely see China beyond Beijing, Hong Kong, Shanghai, and more rarely Xian and Kuilin, this film gives a rare insight into the life of the countryside. "Socialism with Chinese characteristics" is creating ever more women and men like Ermo.

Libretio ERMOAspect ratio: 1.85:1Sound format: MonoWarm, amusing comedy-drama set in northern China where the proud, stubborn Ermo (Alia) works her fingers to the bone selling home-made noodles in order to trounce her snobby neighbors by saving enough money to purchase the biggest TV in the district. Despite this slender framework, the film is rich in characterisation and incident, such as Alia's budding romance with a married man (Liu Peiqi), a narrative thread which is alternately funny and poignant, and genuinely affecting. The acting is restrained and believable, and director Zhou Xiaowen frames and edits every scene to perfection. It's a bit too laidback to really jump off the screen, and its pleasures are minor, but you simply can't fault the craftsmanship on display.(Mandarin dialogue)