
One of my favorite lines is when playwright James Goldman has Eleanor of Aquitane quip in The Lion In Winter (1968): "What family doesn't have its ups and downs?" Comparable in familial disharmony and court intrigue, Zhang Yimou's third entry into the wuxia genre—Curse of the Golden Flower—is his most accomplished. Sumptuous as embroidered brocade, Curse of the Golden Flower outdoes the last two entries in spectacle but is most noteworthy for avoiding the politically confusing obfuscations of Hero and the vertiginously saccharine sentimentality of House of Flying Daggers. Its elegance is not only in its production design, but in the stark lines of its dark story: a brooding meditation on the corrosive heart of gold. Underneath the veneer of China's most expensive movie to date is an economy of tragedy to rival Shakespeare. Its central themes are bitterly grasped though guised by opulent pageantry. As the ancient Chinese saying goes: "Gold and jade on the outside, rot and decay on the inside."
Set in the Later Tang dynasty of the 10th Century—one of the most flamboyant dynasties of Chinese history—the imperial family is collapsing under the weight of its own wardrobe, overly burdened with secrets and glossed-over resentments that are layered one upon the other, as intricately and lavishly as the royal robes. The cruel and handsome Emperor (Chow Yun Fat) is not getting along with his ravishingly scornful Empress (Gong Li). They strategically manipulate their three sons to achieve their cross-purposes; he with black mushrooms and she with golden chrysanthemums, and their offspring with conflicted ambitions.
Liu Ye, as the Crown Prince Wan, the Emperor's eldest son and the Empress' Stepson, is hard pressed to resist his Stepmother's demanding advances, reminding us that vice is nice but incest is best. The Middle Son Prince Jai (Jay Chou) returns from the battlefront to protect his mother from his father, and the Youngest Son Prince Yu (Qin Junjie) warns of the hazard of an innocent smile. Add to the mix the duplicities of the Imperial Doctor (Ni Dahong) and the tortured past of the Imperial Doctor's Wife (Chen Jin) and you have all the elements of an ensuing if complicated coup d'état.
Interestingly, this is not a study of good against evil between parties, as much as it is about the intrapsychic tension between good and evil, rendered first within the individual, then between family members, and then between national factions. No character exits this film blameless but it's the Emperor and Empress who are most culpable for their vengeful brood; a cautionary reminder of the hexagram's plight—as above, so below; as within, so without.
Any study of warriors, from Nahuatl poetry to the political machinations of the Later Tang, synonymize the fugacity of human life with the fragility of flowers. In cultures around the world and throughout time warriors are the flowers of the sun. Crushed petals equate to warfare's carnage and Zimou has depicted this metaphor masterfully in Curse of the Golden Flower. He leaves it to his audience to determine why the curse, as he invites them to feast at a desolate banquet.
This is the best film of the year. Saw it at the AFI in Los Angeles, and was just utterly blown away by it. Great review Michael, you nailed it right on the head.
Why is it getting so may negaive reviews by Hollywood reporter and Variety?
Fantastic review! You've covered everything I wanted to know about the film. Thankyou Michael!! My friends and I are highly anticipating this film. How can any film lovers resist a Zhang Yimou, Gong Li & Chow Yun Fat collaboration? They are one of the finest talents in their profession. I saw the trailer and photos of the film & my jaws dropped in awe of the absolutely stunning imagery! The plot sounds interesting too, dark & mysterious! I just can't wait to watch it! Does anyone have any idea when it will be shown in Sydney, Australia?
Thank you, Marc; I'm heartened to hear someone shares my enthusiasm for the film.
Like yourself, Hill, I'm curious about why Variety and The Hollywood Reporter have been so disparaging. Mileage varies, I guess. The film has been criticized for its CGI warrior scenes. The standard, of course, has become LORD OF THE RINGS and everything is measured against that. Granted, true, it's nothing new; but, watching the hordes cascade in gold and silver remains visually stunning.
Lorraine, please let me know what you think when you and your friends finally get to see the film in Sydney.
I too saw the film (and the director and the actors) at the AFI debut. It raises the bar on spectacle and is visually beyond the beyond, as we would expect from Zhang Yimou. As a westerner I found the court intrigue less interesting than the other two Wuxia films. But Zhang Yimou is incapable of making a bad film. The spectacle alone is worth twice the admission!
I'd have to agree with you there, David, and yeah, when it comes to court intrigue, I guess folks prefer various styles. Though I enjoyed the Shakespearean simplicity of it all, I'm aware that others consider it simply quasi-Shakespearean.
Wow! this film really sounds good. Well i know a lot of people loved Hero and house of flying daggers, but the big reason they loved it is because the films were kinda centered around love, love of your country, love 4 ur lover. The action was a way to keep people interested in it. I hear this film is more a drama than an action film, but whatever, if it has a little action or no action I'd still go see a Zhang yimou film. People here in the us can't say that the film has too much cgi!!! Besides practically the entire continent loved lord of the rings, and that film is all cgi. It's either because its an asian who made the film or it might just be because the cgi sucks, but anyways when i see the film an judge the cgi for myself then i'll know whether or not people are just not liking this whole asian prospect of film making. ZHang yimou is awesome!!
Variety's review cites The Banquet as being better than Curse of the Golden Flower because Banquet was able to better balance the mix of martial arts and drama. This is completely opposite of every review of The Banquet I've read, which faulted it for having a poor balance in that the action intruded on the story.
Variety, and the LA Times as well, tend to favor made in Los Angeles films, and perhaps this bias played a role.
merhaba. mükemmle bir film.
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