|
 Curse of the
Golden Flower is a direct response to audiences who may've felt disappointed by
the relative smallness of scope of director Zhang Yimou’s 2005 film, Riding
Alone for Thousands of Miles, and even 2004’s House of Flying Daggers, in
comparison to 2002’s internationally-acclaimed epic, Hero. People have been
anxiously awaiting another martial arts blockbuster from Zhang. With Curse of
the Golden Flower, Zhang was given what is reportedly the largest budget for a
Chinese film, and the result is absolutely spectacular.
This is a film
that will be held up as a benchmark of artistic achievement in motion pictures
for years to come. Zhang’s cinematographer, Zhao Xiading, production designer
Huo Tingxiao, and costumer, Yee Chung Man, have much to be proud of. The glowing
rainbow palette of colours that saturate the interiors of the palace and the
carpet of royal yellow flowers filling the entire vast courtyard are practically
blinding. The kingdom represented here is immaculate and prosperous. The Royal
Family is bedecked in layer upon layer of exquisite beaded silk robes and decked
out in gold and ivory jewels from head to toe. They are cocooned in unmitigated
and palpable luxury. But such beauty and sumptuous riches can't detract from the
fact that what runs through these opulent halls is pure venom. It is a gorgeous
backdrop that houses a nest of brilliant vipers all seemingly poised to strike
at each other, while aiming to present a united and powerful front to the entire
country. Curse of the Golden Flower is an exercise in deceit, betrayal,
manipulation, rebellion, and murder.
The film takes
place in the 10th century, during the Later Tang Dynasty. Prince Jai,
the 2nd son of the royal family, returns home shortly before the
annual Chong Yang Festival, which is, in part, a celebration of family
gathering. While the Prince’s return from military battle is cause for outward
joy and a very public tightening of family bonds, almost nothing is as idyllic
as it seems. There is the mystery of the increasing illness of the Empress and
the golden chrysanthemums she embroiders obsessively. There is the restlessness
of the Crown Prince Wan, who is the son of the Emperor’s deceased first wife,
and his entanglement with Chen, the beautiful daughter of the trusted Imperial
Physician. We see Prince Jai’s concern for his mother’s failing health, and his
suspicions about the remedies that might be the cause of her sickness. His
complex relationship with his father, the Emperor, is one of love and rivalry,
with the Emperor challenging Prince Jai’s ambitions. The third and youngest son,
Prince Yu, craves only the admiration of his father. The story of the Emperor
himself is one of ambitious beginnings; he was not born royal, and he readily
demonstrates the iron will it took to win his crown.
To my
knowledge, Chow Yun Fat and Gong Li have never starred in a film together prior
to Curse of the Golden Flower. The combination of the two is a revelation for
the acting world. The only things brighter than the colours in this film are the
pure electric sparks between the Emperor and his Empress. I wished they'd had
more scenes together. I was mesmerized by their chemistry and intensity. Gong Li
- who radiates a regal presence while standing around doing nothing - has found
a role that takes that sublime poise, tears it into shreds and throws it back
together again. Her Empress is equal parts Lady Macbeth, Phaedra, and Madame
Mao, yet somehow you actually feel great sympathy for this glorious monster. It
is a credit to Zhang’s skill in bringing out amazing and unexpected performance
in his actors that you see Chow Yun Fat as you have never seen him before. His
Emperor is all pride, cunning, and ruthlessness. Zhang takes Chow’s world-famous
beatific smile and gives it a completely new and unexpected meaning.
One of the
most powerful scenes in the film occurs when the Emperor metes out a
particularly cruel comeuppance to someone who has crossed him. The scene is
already shocking for its harshness and violence, but turns absolutely chilling
when Chow’s Emperor breaks into laughter while inflicting the punishment.
The younger
actors, Jay Chou (Prince Jai), Liu Ye (Crown Prince Wan), Qin Junjie (Prince
Yu), and Li Man (Chen) are all remarkable. They are able to instantly and
realistically express the sudden change of emotions and intentions that spiral
throughout the film. Liu Ye, in particular, gives a very touching performance as
the dutiful Crown Prince, portraying devotion to his family and his secret
beloved, as well as the bewilderment, heartbreak and betrayal at the circle of
events that eventually threaten to consume him. He carries the heart of the
film. It is commendable to all involved that none of the characters come off as
one-dimensional.
Curse of the
Golden Flower is based on a 1934 Chinese play named “Thunderstorm” written by
dramatist Cao Yu. The many twists and jaw-dropping denouements could easily have
come from any of the Greek tragedies. It initially presents a score of questions
and keeps the viewer guessing - nothing and no one is black or white - but once
the answers are revealed; there is no less sense of surprise. Right down the
phenomenal score by Shigeru Umebayashi (In the Mood for Love, Hero), the film’s
tone is operatic. While I'm sure many will expect and focus on the film’s
breathtaking action sequences, the emotion and drama of the storyline is no less
gripping. Curse of the Golden Flower fulfills on every level.
The action is
directed by Tony Ching Siu-Tung (A Better Tomorrow 2, Heroic Trio, Shaolin
Soccer). It happens suddenly and at whiplash speed. While it didn't feel the
least bit gratuitous, there is a brutality here that I have never seen in Zhang’s previous films. Many of the sequences put me in the mind of some of the
better moments of Tsui Hark’s great actioners in their energy and
relentlessness. There is very little of the lyrical, dreamlike movements of the
fight scenes in Hero, the fighting in Curse of the Golden Flower packs a punch.
A word about
the sheer volume of background actors in this film, I have never seen anything
like it. It is de rigueur for directors to turn to their CGI special effects
wizards for scenes requiring vast numbers of extras. In Curse of the Golden
Flower, the number of actors portraying servants inside the royal household
alone was impressive, but for the film’s climax, Zhang reportedly recruited a
background cast of over 1,000 to convey the viciousness of battle, and the
despair of fighting against impossible odds no matter how dear the cost. The use
of flying camera angles perfectly captured the destruction and the astounding
amount of actors employed for this scene.
Curse of the
Golden Flower is a huge artistic milestone for Zhang Yimou, and a tremendous
showing by all of the actors. I was amazed. I hope this remarkable film receives
its due, and is fondly remembered by the members of the Academy come February.
~ Mighty
Ganesha
© 2006-2022 The Diva Review.com |
