This review may contain spoilers
A visual firework.
After the subtle masterpiece Riding Alone for Thousands of Miles, Zhang Yimou returns to the spectacular that made Hero and Flying Daggers such worldwide box office hits. At least on the surface, it seems that way. But after just 5 minutes, you realize that this is a different menu he is serving. This is more of a Shakespearean family drama with clear elements of Greek tragedies and soap opera.
The plot itself begins with Empress Phoenix (Yimou’s old squire Gong Li) taking her daily medicine for her anemia. Unsuspectingly, her husband, Emperor Ping (Chow Yun-Fat), spikes the drink with a mushroom that is supposed to drive her crazy. Together they have two sons, while Ping’s oldest son is from a previous marriage. It is no surprise that this dysfunctional family is not exactly the Brady Bunch and large parts of the plot revolve around how they intrigue with each other and servants.
People who like the expression “less is more” have nothing to gain here. The film is completely bathed in visual candy that includes clothes, props and big emotional outbursts. Gong Li’s dresses alone could make a film in themselves. The execution is generally reminiscent of a Dante opera with just the right mix of betrayal, incest and revealed identities.
When the plot is so grand that it borders on parody and unintentional laughter, it is extremely important to have good actors who can carry both dialogue and expression. Yimou is lucky to have managed to get his old flame and star Gong Li in the female lead role. Only an actor of her caliber can do such an overly melodramatic role without completely losing the emotionality. Chow Yun-Fat’s role is somewhat reminiscent of his pirate foray in Pirates of the Caribbean crossed with Pai-Mei in Tarantino’s Kill Bill. He is dangerously close to overacting for large parts of the film, but gets away with it because of his strong charisma.
Director Yimou can pat himself on the back, because the visuals are absolutely top notch. In addition to the incredibly beautiful palace, he orchestrates two fight scenes of the highest world class. Even an opening sword fight is truly cinematic art. You also have to applaud him for doing something completely different from Hero and Flying Daggers even though they are supposed to be part of a trilogy together.
But even though the fight scenes are sparse, the film still falls short because the characters are a little too distant. Screenwriter Yimou has not been as active this time. It is difficult to get close to the twisted family, but they become more emotional puppets. Well-acted ones, though.
Despite this, Curse of the Golden Flower is a visual firework that you still have to recommend. After all, films like this are what films should really be, a visual experience.
FYI: Curse of the Golden Flower”required the largest set design ever for a film in China.
The plot itself begins with Empress Phoenix (Yimou’s old squire Gong Li) taking her daily medicine for her anemia. Unsuspectingly, her husband, Emperor Ping (Chow Yun-Fat), spikes the drink with a mushroom that is supposed to drive her crazy. Together they have two sons, while Ping’s oldest son is from a previous marriage. It is no surprise that this dysfunctional family is not exactly the Brady Bunch and large parts of the plot revolve around how they intrigue with each other and servants.
People who like the expression “less is more” have nothing to gain here. The film is completely bathed in visual candy that includes clothes, props and big emotional outbursts. Gong Li’s dresses alone could make a film in themselves. The execution is generally reminiscent of a Dante opera with just the right mix of betrayal, incest and revealed identities.
When the plot is so grand that it borders on parody and unintentional laughter, it is extremely important to have good actors who can carry both dialogue and expression. Yimou is lucky to have managed to get his old flame and star Gong Li in the female lead role. Only an actor of her caliber can do such an overly melodramatic role without completely losing the emotionality. Chow Yun-Fat’s role is somewhat reminiscent of his pirate foray in Pirates of the Caribbean crossed with Pai-Mei in Tarantino’s Kill Bill. He is dangerously close to overacting for large parts of the film, but gets away with it because of his strong charisma.
Director Yimou can pat himself on the back, because the visuals are absolutely top notch. In addition to the incredibly beautiful palace, he orchestrates two fight scenes of the highest world class. Even an opening sword fight is truly cinematic art. You also have to applaud him for doing something completely different from Hero and Flying Daggers even though they are supposed to be part of a trilogy together.
But even though the fight scenes are sparse, the film still falls short because the characters are a little too distant. Screenwriter Yimou has not been as active this time. It is difficult to get close to the twisted family, but they become more emotional puppets. Well-acted ones, though.
Despite this, Curse of the Golden Flower is a visual firework that you still have to recommend. After all, films like this are what films should really be, a visual experience.
FYI: Curse of the Golden Flower”required the largest set design ever for a film in China.
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