You won't be disappointed!

This movie is the proof that the world is becoming a sick and dumb place

Highly Overrated But Still Good

The film's masterful storytelling did its job. The message was clear. No need to overdo.

The changing political fortunes of Beijing, China and it's opera is examined in this ambitious dramatic piece, focusing on a pair of theatrical stage brothers and a woman who comes between them. Realizing that a good portion of modern day China's history has been spent under Communist rule, it's nevertheless distressing to witness the type of torture aspiring actors had to go through in order to perfect their craft. The scenes of beatings and personal insults, especially when the principal characters were very young, seem altogether too brutal in the effort to make them remember their lines and deliver them effectively. It would seem more of a detriment to me to have that kind of pressure inflicted on someone. Perhaps the most distressing aspect of the story has to do with Xiaolou (Fengyi Zhang) and Cheng (Leslie Cheung) declared traitors and enemies against the People during the 1966 Cultural Revolution, when all they were doing was what they had always done, performing their roles to the applause of an appreciative audience. It only goes to prove that one's fortunes are largely dependent on those in power governing in their own self interest.

Masterfully scripted, acted and filmed, "Farewell, My Concubine" evokes the genius cinematography of Scorsese, complimented with the harsh reality captured by the likes of David Lean. The story is unique, and gives us an insider's view into the changing face of China, decade by decade, as seen from a trio of characters who comprise a tragic love triangle. Gong Li is incredible as a strong-willed "dragon lady" raised in a brothel who will stop at nothing to achieve her own ambitions, yet who also wants to see new husband succeed as well. The music, costumes and overall sets are spectacular. This is not an uplifting film, but then again, neither is Chinese history.

An intriguing tale, with a fascinating chunk of modern Chinese history serving as the background. Spanning over 50 years, the film tells about the ups and downs of a traditional Peking Opera troupe, and its two stars, from 1924 to 1977. Not only do we see the various political events of the time, but also how the traditional opera and its stars are treated during different eras.The two stars, Dieyi and Xiaolou, are brought up and trained to play specific roles - that of concubine and king respectively - in a famous play. Dieyi (Douzi) is trained, or should I say, forced to behave, sing, move and dance like a girl, from a very young age. The two of them share a unique and close bond, and this balance gets affected when a woman, Juxian, enters the picture. Their political naiveté get them into many problems, but it's their properly unresolved love triangle that causes more trouble.The lines between fact and fiction are blurred when we realise the similarities between the play and their actual lives. Dieyi's devotion to opera and Xiaolou are as strong as the concubine's devotion to the king. (The lines are blurred even more when Leslie Cheung, bisexual himself, takes his life in 2003) The end is inevitable, as we realise while the story progresses, but it's reached with proper momentum and after an intriguing chain of events.The acting by the three leads is really terrific. Leslie Cheung as the female-role playing opera star who's completely devoted to his art, Fengyi Zhang as a talented and playful man who can easily separate his private and work lives, and Gong Li as the prostitute-turned-wife whose shades of determination and compassion keeps us from not having a fixed view of her character. With Chen Kaige's talented direction and Gu Changwei's spectacular cinematography, the movie has many colourful and memorable scenes.I really liked the movie, and wasn't bored for a single second. The movie deals with so many interesting themes - Modern Chinese history, sexuality, art and its reception, devotion and passion - but yet it somehow makes me feel that it had the potential to be much more compelling. Other than the political events, the characters could have been explored a little more.

I'm beginning to wonder if you can't measure a society's participation in the global economy of what used to be called "the free world" by the quality of its movies. China is still a monolithic and authoritarian structure but it's loosening up. It was only ten or so years ago that a friend who had visited mentioned that there were only ten McDonald's in all of Beijing. Now the city is more sophisticated than the one I live in, which is served by a weekly train of burros from the nearest cavalry fort. "Starbucks" is the name of the Mimbreno Apache who brings me an occasional jack rabbit carcass.But, all seriousness aside, this is a pretty good, and quite subtle and adult, film. It's a longie, so I was unable to catch the last half hour or so, but what I did see should be applauded for its acting, direction, and production design.It squeezes a long period of time, from 1932 to beyond Mao's take over, into the story of two orphan boys at a school that trains performers for Chinese opera. The female parts are played by men and boys, as in Shakespeare's time, and in fact Cheung, who plays the female part, looks pretty appealing in make up. Cheung's friend, Zhang, is masculine and plays the role of the King of Chu in gaudy make up.Chinese opera is a demanding art. As children, the two friends are beaten without mercy -- and I mean BEATEN -- for any mistakes they make. One of them is beaten even when his recitation is perfect, "to remind you how good you were." The two grow up to become famous actors in the opera -- Zhang as the demanding and desolate king, and Cheung as his devoted concubine who kills herself.But then -- cherchez la femme. And who is the femme? The luscious and beautiful Gong Li (or Li Gong, to put her clan name first.) She's a knockout. It's no wonder that she's able to finagle Zhang into rescuing her from the whorehouse -- The House of Blossoms -- and marrying her. But, as new wives will, she's jealous of Zhang's close friendship with Cheung, who by this time has become gay. Disruptions ensue. Politics rears its ugly head. And at that point -- three in the morning -- I had to shut it off and go to bed.I don't know what happens at the end. I hope Cheung gets his head straight and becomes heterosexual again, that Zhang is satisfied with the arrangement, and that Gong Li becomes an eager participant in a polyandrous marriage. Things would be so much easier all around.