
At one point, Dai Liyan would have been a good catch. Now sick in spirit as much as in body, he is tended to by his cold but dutiful wife Zhou Yuwen and Old Huang, the still loyal family retainer. The only spark of life in the house is provided by his vivacious younger sister Dai Xiu, until the fateful day Dai’s old friend Zhang Zhichen pays a visit.
It turns out Zhang also has quite a bit of history with Zhou as well, having nearly been engaged years ago. Inevitably, sparks flare up again between the two frustrated lovers, despite their efforts not to hurt Dai. Further complicating matters, Dai Xiu also seems to have eyes for Zhang, which would be a match her brother would like to make. It all eventually unravels in a Chekhovian melodrama, featuring characters too tired for melodrama.
Helmed with a delicate touch by Fei, Spring is all about regret, but never about anger. These characters have made their choices and are prepared to deal with them. As Zhang, Li Wei is decency incarnate, while Wei Wei exudes quiet fortitude as Zhou. Fei also brilliantly incorporates his two main sets

Old-fashioned in the best sense, Spring is lovely film about the flawed individuals that make up the extended Dai family. It is all the more poignant when one speculates what would happen to them, given their “bourgeoisie” lineage, post-1949. It is a heartbreaking thought. Screening with Jia’s Cry, which also addresses the pain of love denied, Spring wraps up the Jia retrospective at MoMA this Saturday (3/20).