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White Snake and Green Snake: Retelling of a classic by a Master Fimmaker of Hong Kong cinema
If you grew up with the classic legend of Madame White Snake, Tsui Hark’s vision here is a refreshing arresting remake of that story involving the same characters. Based on the post-modern take of author Lilian Lee with the same name for her novel, the movie explores contentious themes and makes one consider humanity more deeply.
Two snake spirits in the Southern Song Dynasty finally leave the purple bamboo forest to live as humans. When seen through the eyes of Green Snake in this movie, certain deviations from the classic legend become understandably natural. Fat-hoi is not an old monk but a young handsome man who has become one with Buddha. Scholar Hsui Xien of the West Lake has two flaws which become impossible to ignore by the end of this tale. Green Snake and White Snake as individuals and as sisters are the pivotal relationship affecting their choices, once a certain conflict becomes unavoidable. Changes in the two main male characters contribute significantly to improving the plot and lessons of this retelling.
Tsui Hark also brings to life important elements and dimensions to the supernatural spirits (妖) and humans (人) in this movie, whereby knowing the differences and fundamentals for the four classes of 神人鬼妖 is necessary to understanding Fat-hoi's perspective in what he chooses to do within the first 7 minutes of this movie. Being human does not equate to being more morally righteous. An animal spirit cultivating and learning to be a human is about accepting what to do with limbs you are not used to, understanding emotions, seeing different perspectives from a very different world, and trying to decide how to act like a human. Humans do not necessarily understand emotions better than animals or supernatural spirits, especially love pertaining to different types of relationships.
In this wonderful retelling to transform what I grew up with, the relationship of White Snake and Hsui Xien finds a natural outcome. The relationship of changes between White Snake and Green Snake also intersects with that outcome, understandably through Green Snake making certain choices due to circumstances beyond her control but she must face. Who is the wiser sister? Were Hsui Xien’s choices correct? Is fate fair to all of them?
Karma and debt reach an understanding in poignant consequences and self-realisation. With limited screentime, Tsui Hark remarkably weaves and demonstrates the flaws and perspectives of relationships between Green Snake and White Snake, White Snake and Hsui Xien, Hsui Xien and Green Snake, plus Fat-hoi and Green Snake. Each character manages to grasp epiphanies, but at what cost?
Tsui Hark is a very talented storyteller and does not shy away from demonstrating certain elements and rawness, be it ugly or flawed or pitiful or enchanting. His grasp of the classic legend plus Lilian Lee's version, while deftly incorporating various topics such as Taoism, Buddhism and Chinese mythology is what enables this masterpiece. The end result is a touching unforgettable story of what could have been and how to look back at what has gone before. You, the viewer, are there in the moments with the characters and yet, you are not visible to them. There is no over-acting. The main cast and secondary characters have brought to life a story that would be portrayed exactly in this manner, if it were true in those times.
The soundtrack is a wonderful accompaniment to the scenery and story, lyrics rich in meaning. The art director, martial arts directors, and production sound mixers have helped to breathe life into a tale that I did not know I wanted for Madam White Snake (but I had always wanted a different version more encompassing and different for characters such as Green Snake), until I saw this in the late 90s..Tsui Hark allowed the main set to be wall-less. Gauzy fabrics were utilised. The art director and costume designer understood what he was going for. To portray the flowing changes of mood and atmosphere within the abode where the two snake sisters live including sensuality, the residence was based on Tang Dynasty and Song Dynasty paintings, corridors and columns and gauzy fabrics able to create the necessary changes as per the story.
Peking Opera’s lead female role Qingyi was central to the clothing and costume designs for the two sisters. The actor for Hu Hsien was also trained in classical Peking Opera.
The English subtitles are very decent.
That said, the sets may have aged poorly if you expect the standards of modern special effects and technology. These sets capture a specific timeframe of nostalgia and beauty for me, and can be revisited in 4K restored version of the movie. Joey Wong embodies Bai Suzhen for Lilian Lee's novel brought to life, by turns innocent and wise and seductive. Maggie Cheung as the younger snake sister is transformational, aptly portraying Green Snake's learning, temper, bluntness, and attempts at being a proper human.
The impact of this iconic movie by Tsui Hark can be seen in the dramas of certain producers such as Guo Jing Ming, whereby a certain scene in episode 30 of the 2024 drama Fangs of Fortune is literally inspired by the final scene of this movie. There are other elements of this movie also inspirational and seen in that drama series, but that is not the point of this review.
Tsui Hark’s works such as the 1983 Zu Warriors From The Magic Mountain and the 1992 New Dragon Gate Inn always contain vital lessons and elements guaranteed to make you think, haunting you long after the credits have rolled. This love of labour is no different, as seen in the final twenty seconds of the movie.
Two snake spirits in the Southern Song Dynasty finally leave the purple bamboo forest to live as humans. When seen through the eyes of Green Snake in this movie, certain deviations from the classic legend become understandably natural. Fat-hoi is not an old monk but a young handsome man who has become one with Buddha. Scholar Hsui Xien of the West Lake has two flaws which become impossible to ignore by the end of this tale. Green Snake and White Snake as individuals and as sisters are the pivotal relationship affecting their choices, once a certain conflict becomes unavoidable. Changes in the two main male characters contribute significantly to improving the plot and lessons of this retelling.
Tsui Hark also brings to life important elements and dimensions to the supernatural spirits (妖) and humans (人) in this movie, whereby knowing the differences and fundamentals for the four classes of 神人鬼妖 is necessary to understanding Fat-hoi's perspective in what he chooses to do within the first 7 minutes of this movie. Being human does not equate to being more morally righteous. An animal spirit cultivating and learning to be a human is about accepting what to do with limbs you are not used to, understanding emotions, seeing different perspectives from a very different world, and trying to decide how to act like a human. Humans do not necessarily understand emotions better than animals or supernatural spirits, especially love pertaining to different types of relationships.
In this wonderful retelling to transform what I grew up with, the relationship of White Snake and Hsui Xien finds a natural outcome. The relationship of changes between White Snake and Green Snake also intersects with that outcome, understandably through Green Snake making certain choices due to circumstances beyond her control but she must face. Who is the wiser sister? Were Hsui Xien’s choices correct? Is fate fair to all of them?
Karma and debt reach an understanding in poignant consequences and self-realisation. With limited screentime, Tsui Hark remarkably weaves and demonstrates the flaws and perspectives of relationships between Green Snake and White Snake, White Snake and Hsui Xien, Hsui Xien and Green Snake, plus Fat-hoi and Green Snake. Each character manages to grasp epiphanies, but at what cost?
Tsui Hark is a very talented storyteller and does not shy away from demonstrating certain elements and rawness, be it ugly or flawed or pitiful or enchanting. His grasp of the classic legend plus Lilian Lee's version, while deftly incorporating various topics such as Taoism, Buddhism and Chinese mythology is what enables this masterpiece. The end result is a touching unforgettable story of what could have been and how to look back at what has gone before. You, the viewer, are there in the moments with the characters and yet, you are not visible to them. There is no over-acting. The main cast and secondary characters have brought to life a story that would be portrayed exactly in this manner, if it were true in those times.
The soundtrack is a wonderful accompaniment to the scenery and story, lyrics rich in meaning. The art director, martial arts directors, and production sound mixers have helped to breathe life into a tale that I did not know I wanted for Madam White Snake (but I had always wanted a different version more encompassing and different for characters such as Green Snake), until I saw this in the late 90s..Tsui Hark allowed the main set to be wall-less. Gauzy fabrics were utilised. The art director and costume designer understood what he was going for. To portray the flowing changes of mood and atmosphere within the abode where the two snake sisters live including sensuality, the residence was based on Tang Dynasty and Song Dynasty paintings, corridors and columns and gauzy fabrics able to create the necessary changes as per the story.
Peking Opera’s lead female role Qingyi was central to the clothing and costume designs for the two sisters. The actor for Hu Hsien was also trained in classical Peking Opera.
The English subtitles are very decent.
That said, the sets may have aged poorly if you expect the standards of modern special effects and technology. These sets capture a specific timeframe of nostalgia and beauty for me, and can be revisited in 4K restored version of the movie. Joey Wong embodies Bai Suzhen for Lilian Lee's novel brought to life, by turns innocent and wise and seductive. Maggie Cheung as the younger snake sister is transformational, aptly portraying Green Snake's learning, temper, bluntness, and attempts at being a proper human.
The impact of this iconic movie by Tsui Hark can be seen in the dramas of certain producers such as Guo Jing Ming, whereby a certain scene in episode 30 of the 2024 drama Fangs of Fortune is literally inspired by the final scene of this movie. There are other elements of this movie also inspirational and seen in that drama series, but that is not the point of this review.
Tsui Hark’s works such as the 1983 Zu Warriors From The Magic Mountain and the 1992 New Dragon Gate Inn always contain vital lessons and elements guaranteed to make you think, haunting you long after the credits have rolled. This love of labour is no different, as seen in the final twenty seconds of the movie.
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