Schade, ich hatte schon Hoffnung das es neben dem A.H. Vertigo noch so ne Perle gibt, denn IMDB spuckt 5 Vertigos aus.
Suzhou River wird oft mir Vertigo verglichen, und das nicht nur weil Zhou Xun ´ne Doppelrolle hat. Würde ich was über den Film schreiben dann würde ich wahrscheinlich viel zu viel verraten. Deswegen mal was von jemanden der sich anscheinend Gedanken gemacht hat:

Caught in these and other ambiguities (the two love stories blur together and the doubling gets increasingly complicated), close to half the reviews I have read get even the plot summary wrong. Or maybe it's just all those six-letter M--names. The critics are unanimous, however, in citing Hitchcock's Vertigo as the major influence on Suzhou River, and one can see why: a man is obsessed with a blonde/brunette in whom he sees the woman of his past who apparently fell to her death; he wants to replay the story of his love with a different ending, but the ending is instead repeated, and made all too final. Several critics point out that the score of Suzhou River contains allusions to Bernard Herrmann's score for Vertigo. And even minor details in Suzhou River pay homage to Vertigo: greenish neon through the window during the pair's crucial dialogue; someone who dies in a cop chase across the rooftops. At least that's what we're told happens to him--we don't see it ourselves; like the other references to Vertigo, this one is kept glancing. The reviews may all bring up the resemblances to Vertigo, but the better ones go on to stress the differences. Suzhou River is not a remake, like Psycho (1998) for Psycho (1960) or Point of No Return and Black Cat for La Femme Nikita or even The Magnificent Seven for Seven Samurai--it revitalizes its "source," riffs on it, makes it new.

Even the Vertigo structure--the main point of similarity between the movies--is made much more complex in Suzhou River. Vertigo is a V: poor Midge (Barbara Bel Geddes) loves John Ferguson (Jimmy Stewart), while he is obsessed only with Madeleine Elster (Kim Novak). The women have nothing to do with each other--Midge's attempt to make herself correspond with Elster, in the self-portrait she paints, is a disaster--and the structure is programmatic: love is female and ineffectual, while obsession is male and deadly. In Suzhou River, on the other hand, there are two interrelated pairs, and the psychologies cross gender lines: both Moudan and the narrator are in love; both Meimei and Mardar are obsessed. Mardar wants to recreate Meimei as his lost Moudan, while Meimei falls under the spell of Mardar's love story and into the same trap; she is devastated when she learns that Mardar really did love Moudan, not her ("I thought it was just a story," she laments), and she tries to turn the narrator into Mardar just as Mardar had tried to turn her into Moudan (and just as Johnny in Vertigo tries to turn Judy Barton back into Madeleine Elster). "If I leave you someday, would you look for me? Like Mardar? Would you look for me forever? Your whole life?" Meimei asks the narrator in a voiceover at the start of the movie, and the scene is replayed at the end, just before she runs away. Her farewell note says, "Find me if you love me."

Meerjungfrau
Ich kann einfach nicht anders, ich mag diesen Film. Da mag die DVD noch so scheiße überteuert gewesen sein, und Bonusmaterial gibt es natürlich auch nicht (als wäre es jemals anders gewesen), und der Film ist auch nur irgendwas um die 80 Minuten lang, es lohnt sich aber. Auf Video kostet der Film nur so um die 10 Euro und da gibt ´s ihn sogar mit deutschen UT.

Ist übrigens in Farbe und meist sehr wackelig. Das mit dem Wackeln muss aber so.