| Lin Cui | ... | Guo Liangui (as Cui Lin) | |
| Bin Li | ... | Jian | |
| Xun Zhou | ... | Qin | |
| Yuanyuan Gao | ... | Xiao | |
| Shuang Li | ... | Da Huan | |
| Yiwei Zhao | ... | Father | |
| Yan Pang | ... | Mother | |
| Fangfei Zhou | ... | Rongrong | |
| Jian Xie | ... | Manager | |
| Yuhong Ma | ... | Accountant | |
| Lei Liu | ... | Mantis | |
| Mengnan Li | ... | Qiu Sheng | |
| Jian Li | ... | Jian's Classmate | |
| Yang Zhang | ... | Jian's Classmate | |
| Yuzhong Wang | ... | Jian's Classmate | |
| Wei Hui | ... | Jian's Classmate | |
| Hua Ji | ... | Bicycle Rider | |
| rest of cast listed alphabetically: | |||
| Jiayin Chang | ... | Xiao's Classmate | |
| Yan Wang | ... | Xiao's Classmate | |
| Lei Zhang | ... | Xiao's Classmate | |
| Yu Zhang | ... | Bicycle Rider | |
| Hougang Zhen | ... | Bicycle Rider | |
| Xun Zhon | ... | Qin | |
Directed by | |||
| Xiaoshuai Wang | |||
Writing credits(in alphabetical order) | ||
| Peggy Chiao | ||
| Hsiao-ming Hsu | ||
| Danian Tang | ||
| Xiaoshuai Wang | ||
Produced by | |||
| Michael Chiao | .... | co-producer | |
| Peggy Chiao | .... | producer | |
| Anne Devauchelle | .... | coordinating producer | |
| Sanping Han | .... | producer | |
| Hsiao-ming Hsu | .... | producer | |
| Eric Lagesse | .... | coordinating producer | |
| Zhongye Ma | .... | line producer | |
| Dong-ming Shi | .... | co-producer | |
| Fabienne Vonier | .... | associate producer | |
| Xia Zhang | .... | coordinating producer | |
Original Music by | |||
| Feng Wang | |||
Cinematography by | |||
| Jie Liu | |||
Film Editing by | |||
| Ju-kuan Hsiao | |||
| Hongyu Yang | |||
Production Design by | |||
| Anjun Cao | |||
| Chao-yi Tsai | |||
Set Decoration by | |||
| Anjun Cao | |||
| Chao-yi Tsai | |||
Costume Design by | |||
| Yan Pang | |||
Makeup Department | |||
| Jiajia Li | .... | makeup artist | |
Production Management | |||
| Bing-hsi Hsu | .... | executive in charge of production | |
| Bing-hsi Hsu | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Le Niu | .... | assistant director | |
| Weijie Yu | .... | assistant director | |
Art Department | |||
| Guangbo Liu | .... | property | |
Sound Department | |||
| Chen Chen | .... | sound | |
| Du-Che Tu | .... | sound designer | |
| Du-Che Tu | .... | sound | |
Camera and Electrical Department | |||
| Yang Jiang | .... | assistant camera | |
| Chao Wei | .... | camera operator | |
Editorial Department | |||
| Ju-kuan Hsiao | .... | assistant editor | |
| Ching-Song Liao | .... | supervising editor | |
| Hongyu Yang | .... | assistant editor | |
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| The Basketball Diaries | Persepolis | All About Lily Chou-Chou | Machuca | Pianese Nunzio, Fourteen in May |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb France section |
"Beijing Bicycle" has a superficial similarity to "The Bicycle Thief," a true classic, but it presents a darker and deeper story. Set in Beijing it tracks the efforts of a young man from the countryside to find his self-sufficient place in a bustling and rawly energetic city. For him, obtaining a position as a bicycle messenger for a company serving the commercial firms of the city seems to be a satisfactory end, not a beginning as it probably would be were this film set in a Western metropolis.
For a New Yorker, where bicycle messengers are simultaneously often hated and frequently and with good measure feared, the operation of the Beijing counterpart, with messengers uniformly attired and equipped with identical mountain bikes, is both strange and familiar.
Central to the film is the theft of the coveted bicycle one day before it would become the personal property of the messenger (the company's scheme allows employees to earn ownership after what appears to be a short period of service). The bike turns up in the hands of a post-high school youth, part of a loose gang of bicycle worshipers. Much of the story revolves around the subsequent relay race of seizures of the bike with attendant and escalating violence.
The intensity of the competition between two young men for the bike reflects its importance not only economically (bikes appear in huge numbers in wide shots of broad avenues and busy streets) but also personally. These young men probably don't even have nocturnal fantasies of car ownership.
A wary but real bond develops between the suitors for bike ownership and the violence that engulfs them is palpably real and painful to watch. There is no real resolution for either of them it seems.
"Beijing Bicycle" would have benefited from some judicious editing and the deletion of an extraneous secondary story line (or two) that detracts from the main tale. The score is very nice and the acting strong. This is not the Beijing of Tianamen Square or of the flourishing fast food outlets. It is, however, a Beijing that has a number of striking similarities to neighborhoods known to many of us. And in that lies the film's interest and attractiveness.