Hutong Cowboy depicts the emergence of a hero and the charm of capital’s distinct residential areas , Xu Fan reports.
(A ‘cowboy’ in Beijing’s hutong)
Donning a cowboy hat, Ge You, one of the most renowned actors in the country, takes on the role of an ambassador of justice in his latest film, The Hutong Cowboy.
However, unlike the typical cowboy archetype, the “weapon” of Ge’s character, Zhang Beijing, isn’t a six-gun holstered at his side. Instead, it’s the essential tools of the digital age — a smartphone and a selfie stick.
In the movie, Zhang, a Beijing taxi driver in his 50s, unexpectedly becomes an internet sensation after a video capturing his moment of anger goes viral online. He seizes this newfound fame to start his own video blog, where he helps everyday individuals defend their rights.
The footage shows the irate protagonist riding a sightseeing mini-train, chasing a soap seller dressed as a Transformers-like robot portrayed by actress Li Xueqin. The protagonist is triggered by the seller’s violation of his image rights. Earlier, the “robot” claw snags his wig, revealing his bald head, and this embarrassing moment is subsequently showcased on a large screen aimed at attracting more passersby to buy her soaps.
As the latest directorial effort of veteran director Ning Hao and emerging talent Xu Lei, the 113-minute comedy was released across domestic theaters on Oct 1.
Starring actress Gong Beibi as Zhang’s former wife and actor Wu Lei as his son, the movie unfolds with Zhang’s determination to deliver a parental speech at the upcoming wedding, rather than allowing his son’s wealthy entrepreneur stepfather to do so.
Despite his efforts, including trying to rent luxury cars for the wedding and purchasing an expensive wig, Zhang eventually conceives a plan to become an internet influencer, aiming to demonstrate that he too can achieve success after the incident. However, the situation takes an unexpected turn.
Director Ning, one of the most renowned figures among China’s “sixth-generation directors”, tells China Daily that he has been considering shooting a feature-length film centered on Zhang, a chatty yet warmhearted taxi driver representing the Chinese capital’s unique hutong culture, since 2019.
Zhang’s character was initially introduced in Ning’s Nihao Beijing (Hello Beijing), one of the six stand-alone short stories featured in the 2019 anthology blockbuster My People, My Country. The narrative of Zhang was revisited in Beijing Haoren (A Kind-hearted Beijing Native), also directed by Ning, and one of the five separate stories of the 2020 anthology My People, My Homeland, a sequel to the 2019 film.
Ning unveils that the inspiration for Zhang stems from the uncle of the film’s scriptwriter, Wang Ang.
“We had interviewed his uncle before developing the storyline for the 2019 film,” recalls Ning.
The archetype individual, characterized by his helpful, hospitable, and talkative nature, embodies a subset of native Beijing taxi drivers, who enjoy exchanging perspectives on international and domestic affairs with passengers and typically possess a broad spectrum of knowledge, Ning says.
After being invited on board to co-direct the film, Xu, who shot to fame for the award-winning suspense comedy Summer Detective, recalls that he and the cameraman Cheng Ma sought out the ideal filming location in Beijing’s hutong areas.
Living in a community near the East Fifth Ring Road, Xu shares that the journey has helped him realize the unique charm of Beijing — from its labyrinthine alleyways to the close-knit relationships among neighbors and the picturesque courtyards adorned with gray tiles and crimson walls.
“The preservation of hutong houses within the Second Ring Road represents a preservation of traditional and classical ways of living,” Ning adds.
A native from Taiyuan, Shanxi province, Ning explains he believes Beijing locals, especially those residing in hutong, are renowned across the country for their wit and convivial dispositions, shaped by their distinctive living environment.
“For many families, they share one courtyard with neighbors and have to go out to use communal toilets. Residents frequently run into each other. If nobody speaks, it can create pressure and lead to anxiety. Therefore, they rely on conversations and jokes to navigate life more smoothly,” Ning explains.
Moreover, the film aims to capture how everyday individuals navigate the challenges of embracing a modern era dominated by livestreams, short videos, and online commerce.
Ning, seeking insights through his observations of daily life, recalls several instances that shed light on this dynamic. Intrigued by late-night livestreamed plant sales, Ning watched sellers diligently maneuvering electric bikes across fields to fulfill customers’ requests for close-ups of saplings. Similarly, he observed a grill restaurant owner fervently promoting her dishes to just a few online viewers. Even Ning’s shy and introverted nephew, who is recruited as a livestreamer to sell vehicles, found his primary audience to be Ning’s own relatives, who needed to support the young man as he struggled to attract enough customers.
“Though the internet has reshaped our lives, it’s heartening to witness the resilience and fervor of ordinary individuals in the face of difficulties and challenges. Every single one of them is working hard to keep pace with the changes of the era,” reflects Ning.
Interestingly, the courtyard of Zhang, the protagonist, was filmed within a hutong near Zhihua Temple, a Buddhist temple constructed during the Ming Dynasty (1368-1644). The backdrop of the sweeping and fluid Galaxy SOHO complex, designed by the late Iraqi-British architect Zaha Hadid, adds a metaphorical depth to the film.
Director Xu explains that this deliberate contrast aims to convey a message about the potential for harmonious coexistence between tradition and modernity in a vibrant metropolis like Beijing.
