For a simple viewing, "Beijing Bicycle" appears to be a very eclectic film that revolves around the ownership of a two wheeled vehicle. However, under that guise lies a stark depiction of class inequality in China. The chemistry between the cinematography and the raw emotions depicted by the cast engages the viewer right from the beginning.
A boy, Guei, joins a delivery company that uses bikes as its main mode of transportation. The bicycles are not the employee’s property initially but through many consistent deliveries, the employee can then become the owner of the vehicle. After a few months, Guei earns the right to his bike, but it is suddenly stolen and Guei is then fired. However, he may be rehired once he regains possession of the bicycle. Another boy, Jian, is infatuated with a girl named Xiao and, in an effort to win her affection, is intent on getting a bike. Despite being continuously promised one from his dad, it keeps getting put off, forcing the frustrated boy to steal money and purchase a bicycle, which happens to be that of Guie, from a local seller. Guie encounters Jian and manages to steal it back.
In a handful of encounters, the bicycle changed hands multiple times between the pair and, ultimately, both stopped quarrelling and agreed to share the bike. One day, Jian sees Xiao flirting with a boy named Da Huan, and in a jealous fit of rage, Jian attacks the boy. Later, Da Huan and his companions encounter Guei and Jian during the pair’s meeting to exchange possession of the bike. The gang brutally assaults the two boys and leaves, while one cohort starts destroying the bicycle. Guei knocks out the remaining attacker, retrieves the damaged vehicle, and leaves the area.
While the subject matter of the feature revolved around a simple bicycle, the film managed to use that simplicity to highlight the differences of their characters. Guie and Jian, both characters on opposite ends of the social spectrum, long for different goals with the possession of a bike and both played perfect foils for each other. Their on-screen chemistry made for very entertaining scenes to showcase their clash in motives.
The film succeeds at shooting scenes with only one static camera angle in order to draw attention towards the characters and their feelings at that time. In one particular scene, Guie steals his bike back from Jian, only for Jian to gather his cohorts from school to assault and chase Guie for the bicycle. What followed was a long scene with a far, static camera angle shooting the violence.
Guei’s body language easily tells the story of his hopelessness to keep the bike. With a static shot, all of the attention is turned towards the frantic assault and the frantic emotions. As the angle does not change and the focus does not cut away, the viewer is still engaged throughout the length of the incident. Guie struggles to fend off his attackers, but the audience can do nothing but watch helplessly. The feeling of sympathy is transferred to the character in need and in doing so, creates an emotional attachment that develops itself naturally.
