Clean [2004] [DVD]

Clean revolves around the character of Emily Wang, the ex-partner of a faded rock musician named Lee Hauser.
When Emily and her boyfriend became absorbed in a life of music and drugs she abandoned her son to the care of his paternal grandparents, and after Lee dies from a drugs overdose, which results in Emily spending six months in jail for drug offences, the story follows her on her journey to both redeem herself of her past and to regain the trust of Lee's parents in order to rebuild the relationship with her estranged child.
As well as her emotional journey, the film also follows Emily as she embarks on building her own music career which takes her to various cities around the world and features cameos from various real life musicians like Tricky, Metric's Emily Haines and Mazzy Star's David Roback.
As you would expect from this type of film the quality of acting is high with a subtle but commanding performance from Nick Nolte as Lee's father Albrecht, and while it may not be the best film you've ever seen, if you're a fan of independent cinema then this is an enjoyable and rewarding film and well worth a look.

I was disappointed with this film.

I felt Maggie Cheung did not portray this character well to engage the audience, although in the extra section she explains how her approach was to non act the acting part which I felt was quite a pretentious thing to say.

I felt like she is at a stage in her career where she sees herself as being an actor's actor, she considers her success lies in doing as little as possible on screen to create a bigger impact, or I rather see this more as a flip side to being such a famous HK movie actress she gets to try something alternatively different in contrast to the other roles we usually see her in.

Having said this I was still disappointed with the acting. I thought it was the worst film I have watched in a long time. And I have difficulty in believing she won the award for best actress at Cannes.

I wanted her to give a bit more of herself when it counted in her acting but instead we got nothing, just a lot of blank stares, I didn't feel anything and it made me think - isn't a role of an actor to inject emotion into the roles they play to enable the audience to engage emotionally to the story? Or is that not what films about?

I don't think it is entirely Maggie Cheung's fault but instead the director's viewpoint, I understand his impetus in making the movie but it does not come off well on screen which is a shame because in comparison Nick Holte's screen presence is believable and the young boy is very sweet in the movie and both parts are played well - there were moments you really felt the tension and pull in the story through them.

And unfortunately I felt the actress was a fake.
I originally wanted to watch the film because I felt it would be refreshing and different to watch a well known actress play a role not usually you will see her in and maybe she is trying to pave the way for more Chinese actors away from the usual martial arts/prostitute roles you so associate Chinese actresses with.

But still I felt the role was a meatier subject matter that required more emotional depth that I felt was lacking unfortunately.

Maggie Cheung plays a junkie rock ex-semi-star. Her common law husband, also a never-quite-made-it rocker in decline dies of a heroin overdose. She spends 6 months in prison for possession. Meanwhile her young son is being raised by her dead husband's parents.

Nick Nolte, as the grandfather does some terrific, nuanced work as a flinty man, with a soft heart.

He won't let Cheung see her son until she gets her life together, which she circuitously
does, weaning herself off drugs, getting basic work, and eventually starting the process of reconnecting to her son, especially as Nolte realizes, with his wife dying, and his own aging, the boy will eventually need his mother.

The film avoids the usual clichés and sensationalism of drug movies - no throwing
up or screaming withdrawals. It's low key and real, filled with small moments of life
rather than than dramatic highlights. It's willing to have lead characters who are unlikable
and selfish at times, and yet still makes us care for, and be moved by them.

But there's also a flatness to it. And a sense of familiarity and predictability to the plot, if
not the execution. It's great that it doesn't fall into melodrama, but it feels distanced. As
one critic put it `it avoids moralizing, but fails to replace it with anything'. A bit harsh, but
not without some truth.

Also, Cheung, while very good in spots, never seems believable as a junkie; she's gorgeous healthy looking and luminous on drugs or off.

On the other hand the photography is beautiful, and the score is filled with wonderful and effective music by Brian Eno.

Worth a look for the acting, and the small grace moments throughout.