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In the late 9th century of the Tang Dynasty the Emperor (Chow Yun-Fat) discovers the infidelity of the Empress (Gong Li) who has been carrying on an affair with her stepson Crown Prince Wan (Liu Ye). He surreptitiously engages the service of the royal physician (Ni Dahong) to mix a dose of black fungus in the medicine the ailing Empress takes daily so she could be made insane. The Emperor's second son, Prince Jai (Jay Chou) who is fond of his mother, the Empress becomes anxious over her failing health and her obsessive embroidery of chrysanthemums. Meanwhile, Prince Wan and the Imperial Doctor's daughter, Chan (Li Man) have fallen in love. Whether it be from fear of or because of his loyalty to the Emperor, he decides to sever his illicit relationship with the Empress. From the Imperial Doctor's wife, Jiang Shi (Chen Jin), the Empress learns about the poisonous, black fungus and of the Emperor's evil scheme. She takes her personal vendetta: first, by inviting Jiang Shi and Chan before the Emperor and Prince Wan to reveal a dark secret regarding the first wife of the Emperor; and second, by planning a bloody coup with the support of her loyal son, Prince Jai. Prince Wan learns about the plot and informs the Emperor immediately. On the night of the Chong Yang Festival two armies challenge each other, a contrast of gold (loyalists of the Empress) and black (loyalists of the Emperor). Who would triumph in this warfare? How would the personal conflicts of the royalties be resolved?
The film is an extravaganza of well-choreographed scenes enhanced by computer generated imageries
demonstrating a culture of opulence when royalties held subjects in servitude and rulers are expected to be masters of the sword; thus, a pompous display of martial arts and
fencing skills, The elaborate, colorful costumes are visual feasts and the music composed by Shigeru Umebayashi
create the atmosphere for drama, suspense, and pathos. From long shots to pan magnificent landscapes, to medium shots to introduce the royal court, and close-ups to catch the emotions of the characters, particularly Gong Li who gave an exemplary performance, the cinematography is highly commendable. However, the common problem with a film written in Mandarin with English subtitles is that you sometimes miss out on a film footage and there are words against a light background that cannot be read.
The story deals with the trappings and perils of power and the tragic repercussions of its abuse.
But even in tragic plays dealing with flawed characters, one expects a certain catharsis. It is this aspect that is woefully lacking in the Curse of the Golden Flower
which portrays death, doom, and despair, truly a cursed family life, and leaves the viewer drained and depressed at the end of the film. In gory detail are adultery, incest, murder, suicide, betrayal, revenge, fraternal rivalry, cruelty, and deceit. Injustice is met with corresponding injustice, Women are portrayed in a bad light: the Empress is both a victim and a vindictive woman, the Imperial doctor's wife is a wronged, embittered person who wishes to destroy her oppressor; the doctor's daughter is a willing accomplice in serving poisonous medication to the Empress, and a wanton lover. The Emperor is ruthless, liquidating his wife or sons who displease him, even his faithful royal physician. The three sons are hapless creatures one a weakling, another with poor judgment and misplaced loyalty, and the last a jealous and disfavored son. Personal conflicts among the royalties result in a national disaster. In spite of the spectacle offered, can anyone enjoy a film that does not offer a message of hope?
(Date Reviewed: 9 February 2007)
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