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Goodbye, South, Goodbye (1996)
"Nan guo zai jian, nan guo" (original title)

 |  Crime, Drama  |  12 April 1997 (Japan)
7.3
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Ratings: 7.3/10 from 899 users  
Reviews: 8 user | 19 critic

A glimpse at the lives of two petty criminals in Taipei.

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(as Hsiao-Hsien Hou)

Writers:

, (story), 1 more credit »
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Title: Goodbye, South, Goodbye (1996)

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Cast

Credited cast:
Shih-huang Chen ...
Flathead's uncle
Hsiang Hsi ...
Hsi
Kuei-Ying Hsu ...
Ying
Annie Shizuka Inoh ...
Pretzel
Jack Kao ...
Kao
Ming Kao ...
Ming
Ming Lei ...
Kao's Father
Kuei Li
Pi-tung Lien ...
Tung
Giong Lim ...
Flathead
Vicky Wei ...
Hui
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Storyline

A glimpse at the lives of two petty criminals in Taipei.

Plot Summary | Add Synopsis

Genres:

Crime | Drama

Certificate:

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Details

Country:

|

Language:

|

Release Date:

12 April 1997 (Japan)  »

Also Known As:

Adeus, ao Sul  »

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Technical Specs

Runtime:

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Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Considered by Cahiers du Cinéma to be one of the three best films of the 1990's, alongside The Bridges of Madison County and Carlito's Way. See more »

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Referenced in Wschód (2008) See more »

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User Reviews

A film of grace and freedom
1 April 2002 | by (Vancouver, B.C.) – See all my reviews

Goodbye South Goodbye presents a beautifully delineated portrait of a generation of Taiwanese cut off from their society's traditional values. Hou records a world stuck in short-lived businesses and scams in which the characters have no real shot at economic advancement. The characters are cold, rootless, and basically corrupt. No real communication is taking place here. It reminds me of "The Wind Will Carry Us" where the cell phone represents an intrusion of western technology in a village steeped in tradition.

This film portrays the contrast between the almost feudal tradition and its hierarchy with gangsterism and corrupt business practices. Somehow, Hou transcends this feeling of entrapment and aimlessness with long takes of lyrical beauty. For example, the green filter shown when the three are riding through a tunnel in Taipei, the three riding their motorcycles up a steep hill, a moment of grace and freedom.

The camera in this film does not judge. It simply records the unfolding of events. Hou simply discloses the character of complex relationships and situations. This film, like all of HHHs films that I've seen including his new "Millennium Mambo", is pulsating with rhythm, the rhythm of a train, the rhythm of punk music, the rhythm of life.


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