China, Later Tang Dynasty, 10th Century. On the eve of the Chong Yang Festival, golden flowers fill the Imperial Palace. The Emperor (Chow Yun Fat) returns unexpectedly with his second son, Prince Jai (Jay Chou). His pretext is to celebrate the holiday with his family, but given the chilled relations between the Emperor and the ailing Empress (Gong Li), this seems disingenuous. For many years, the Empress and Crown Prince Wan (Liu Ye), her stepson, have had an illicit liaison. Feeling trapped, Prince Wan dreams of escaping the palace with his secret love Chan (Li Man), the Imperial Doctor’s daughter. Meanwhile, Prince Jai, the faithful son, grows worried over the Empress’s health and her obsession with golden chrysanthemums. Could she be headed down an ominous path? The Emperor harbors equally clandestine plans; the Imperial Doctor (Ni Dahong) is the only one privy to his machinations. When the Emperor senses a looming threat, he relocates the doctor’s family from the Palace to a remote area. While they are en route, mysterious assassins attack them. Chan and her mother, Jiang Shi (Chen Jin) are forced back to the palace. Their return sets off a tumultuous sequence of dark surprises. Amid the glamour and grandeur of the festival, ugly secrets are revealed. As the Imperial Family continues its elaborate charade in a palatial setting, thousands of golden armored warriors charge the palace. Who is behind this brutal rebellion? Where do Prince Jai’s loyalties lie? Between love and desire, is there a final winner? Against a moonlit night, thousands of chrysanthemum blossoms are trampled as blood spills across the Imperial Palace. —IMDb
Zhang Yimou is one of the best-known directors of the Chinese Fifth Generation and one of the most influential and widely respected filmmakers working today. Zhang was born in 1950, in the city of Xi’an in Shaanxi Province, to a future in Communist China that seemed unpromising; his father was an officer in Chiang Kai-shek’s Kuomintang Army and one of his brothers was accused of being a spy, while another fled to Taiwan. During the 1950s, his family’s background was suspect and during the convulsive tumult of the Cultural Revolution of the 1960s, it was criminal. Zhang was pulled out of high school and sent to toil with the peasants. Later, he transferred to a textile factory. While working there, Zhang reportedly sold his own blood to buy his first camera.
In 1978, at the age of 27, Zhang passed the entrance exam for the Beijing Film Academy but was rejected on account of his age. After an appeal to the Ministry of Culture, however, he was enrolled in the B.F.A.‘s class of 1982… read more
I like how the starting point's status quo returns in the end (square in a circle) and becomes much more justificated. After all the Emperor and the Empress are both antiheroes, so a fight between them (deduction of War and Peace) will cause only meaningless sufferings.
Avec ce film très haut en couleur et aux allures de complot, Zhang Yimou offre un cinéma comme il a coutume de nous offrir sur la forme, mais franchement décevant sur le fond.
Encore une fois… read review
Es innegable que los ultimos 20 años han resultado provechosos para el cine asiatico. China, Hong Kong y Taiwan han atestiguado la consolidación de grandes talentos cinematograficos dentro y afuera… read review
Immersed in all primary colors. Yimou has created a melodrama reminiscent of to the Shaw Brothers Studio of the 1950s in Hong Kong. If a film is to be called an opera, this would be the grandest opera… read review