Like the annual, but long awaited meteorological change from winter to spring, October Films release of "Three Seasons" does have some beautiful images that arise from otherwise bleak surroundings, but is so laboriously slow and plot impaired that you'll feel as if those later winter/early spring months have passed waiting for the film to traverse its meandering course from beginning to end.
To be fair, the film was the winner of both the best dramatic picture and audience favorite awards at this year's Sundance Film Festival. Those accolades, however, raise questions regarding the quality of the competition and whether the oxygen-impaired high altitude or party hangovers may have clouded the viewers' judgement.
That's not to say that the film is bad. On the contrary, it looks terrific -- courtesy of cinematographer Lisa Rinzler -- has some strong performances, and enough symbolism to teach a film school class on that subject. What it doesn't have, however, is much of a forward-moving plot.
Although its four stories are initially compelling enough to keep them interesting, writer/director Tony Bui doesn't do much to flesh them out beyond their superficial underpinnings. It nearly seems as if Bui -- a Vietnamese filmmaker who returned to his homeland after an absence that's spanned most of his life -- was more interested in presenting an allegory than an engaging motion picture.
While those who appreciate metaphorically styled films -- such as "The Thin Red Line" -- will probably enjoy this picture, mainstream moviegoers -- who've already had their fill of Vietnam related stories -- will find the proceedings exceedingly sluggish and the resident symbolism perhaps occasionally applied a bit too thickly.
That said, such symbolism is effectively presented, with Master Dao representing the ancient, decaying part of Vietnam's past, Hager a specific troubled past, Lan a disillusioned present, and Woody, an uncertain future. While those elements are more subtly displayed, the dialogue of the poor and disenfranchised complaining about the rich is a bit too "on the nose," as is Hai "rescuing" Lan, the hooker -- surprise, surprise, who's actually a decent person (almost with a heart of gold) -- and thus his country from its past shame.
Although the ever-present symbolism and imagery are boldly displayed, the same can't be said for the overall meandering plot. Despite the interesting -- if occasionally too familiar -- initial premises, the individual stories don't make much of an attempt to hold the viewer's interest, and some elements such as Hai's sudden and then continued interest in Lan or an oddly placed cyclo race seem too contrived for their own good.
One also imagines that since the stories take place in the same setting and time that they'll probably intersect in some meaningful way, such as Woody being one of the characters' son, etc... In fact, the film may have been more interesting had the different tales involved the same characters but at different ages and in different times -- a point that wouldn't be disclosed until later in the film. Beyond some meager and inconsequential intermingling, however, the stories are essentially standalone pieces.
For the most part, the performances are good despite the lack of much plot and/or character development, and a less than average amount of dialogue for a film like this. Although his character's sudden interest in Lan the prostitute is never satisfactorily explained, Don Duong delivers a compelling take as the middle-aged cyclo driver.
While perfectly playing the standard-issue hooker, Zoe Bui is okay, but can't do much with her stereotypically written character. Despite having substantial screen time, Ngoc Hiep Nguyen and Manh Cuong Tran likewise are stuck in underdeveloped characters, although the mystery surrounding Dao -- who's eventually revealed to be a leper -- does keep things moderately interesting.
Meanwhile, Huu Duoc Nguyen is haunting as Woody, the young street peddler, although we know next to nothing about his character. Then there's Harvey Keitel ("Shadrach," "Cop Land"), the only marque name to be found in the film (that he also executive produced). As such, his character seems the odd man out -- somewhat appropriately since he's the only American character -- and his story is the weakest of the bunch (none of which are particularly strong to begin with).
Freshman director Bui does deliver a decent first outing, and while the picture is visually engaging, what with its exquisite imagery, it's too bad he didn't pay as much attention to the plot. As a result, audiences will probably have mixed reactions to this slow-moving film, but will certainly see that its director has talent to spare and will expect bigger and better efforts from him in the future. We certainly feel that way and thus give "Three Seasons" a 5 out of 10.