The Emperor proceeds to whip Prince Yu to death using his belt. Everything is too beautiful and too perfectly arranged, which is usually where we knock a film for being too manufactured. After a relatively low-key start, the films first action scenes immediately impress. Archived from on February 5, 2009. While emotional scenes with Gong Li drew some laughter from the audience, his final scene was noteworthy and articulation has improved.
The plot could also be possibly based on. At this point, the third son, Prince Yu, suddenly murders Crown Prince Wan and reveals he has been aware of the corruption of both the Emperor and the Empress. The acting is very powerful: the epitome of Chinese acting is in the facial expressions within a restrained and mechanical setting see Chinese opera and both Gong Li and Cho Yung Fat do a great job in their roles. But the Emperor isn't lying to Jie: the kid is in for a tough lesson. The Empress hires a mysterious woman to discover the type of poison which she is suffering from, but the woman is captured by Crown Prince Wan and taken to the Emperor.
During these scenes it's easy to feel some sympathy for the put-upon Empress because she's in such a terrible position, drinking poison hourly despite the knowledge that it's really killing her. This may unintentionally amuse, as may some of the acting. Li Gong does well as the Empress, but the rest of the cast is unmemorable. Jiang Shi and Jiang Chan run back to Nanjing and confront the Emperor, who refuses to answer, whereupon the Empress explains to Jiang Chan that Jiang Shi was the Emperor's first wife and Crown Prince Wan's mother, meaning that Jiang Chan and Crown Prince Wan are half-siblings. Could she be headed down an ominous path? Who is behind this brutal rebellion? This narrows the number of candidates to the states with territory in the Yangzi River Delta. At midnight, the Double Ninth Festival begins as scheduled.
China, Later Tang Dynasty, 10th Century. I have nothing but praise for this film. However, the deal breaker for Jie may be that his father is deliberately attempting to turn his mother into a vegetable. Both lead characters have their reasons for sticking to their planned course of action. Prince Jai rises from the sea of bodies and is taken captive. Jiang Shi and Jiang Chan run back to Nanjing and confront the Emperor, who refuses to answer, whereupon the Empress explains to Jiang Chan that Jiang Shi was the Emperor's first wife and Crown Prince Wan's mother, meaning that Jiang Chan and Crown Prince Wan are half-siblings. Could she be headed down an ominous path? The Empress explains that the tea she drinks has been poisoned for some time by the Emperor, but that she is planning a rebellion to overthrow him.
The lone stalwart person in all of this is Jie, who seemingly desires family harmony. Personally, I think that the characters are very well developed because they are complex, obsessed and quite multi-dimensional in their basic human drives. Gong Li strides around the palace in an incredibly haughty manner, sweating wildly and fixing everyone who crosses her path with withering gazes. Meanwhile, Prince Jai, the faithful son, grows worried over the Empress's health and her obsession with golden chrysanthemums. Liberties are taken with historical accuracy, in order to present this atmosphere that blends fantasy and realistic history. The Emperor harbors equally clandestine plans; the Imperial Doctor Ni Dahong is the only one privy to his machinations.
But it's all plainly artificial, both to the audience and to the characters in the film. She does her best work ever! In turn, the Empress would like Xiang's help to overthrow the Emperor, but he's a sniveling, useless sort, meaning he lacks the guts to go through with a coup. The production design and Shigeru Umebayashi's bombastic score are the icing on the cake of this exercise in excess. Liu Ye, as her illicit lover, ascends to levels of 'mad' acting not seen since Cary Elwes in Saw. Review by Kozo: It's pretty and it's also pretty good.
And the success of this film is also a victory of Chinese writers. I agree with the comparisons of Shakespearan tragedies and royal family intrigues, and the reference to dysfunctional families and meltdowns. Amid the glamour and grandeur of the festival, ugly secrets are revealed. The story begins as a high-powered drama, where all is not well between the Emperor of China, the Empress and their three sons. However, thousands of silver armored soldiers appear, being the reserve army of the Emperor, bearing shields, pikes, and bow-and-arrows, and they slaughter the golden soldiers down to the last man.
As bad karma boomerangs on the baddies, emotions reach fever-pitch, but not too subtly. The Emperor has his own secrets involving his first wife, and youngest son Cheng Qin Junjie mopes around looking annoyed because everyone is too busy scheming and plotting to pay him any mind. The Empress explains that the tea she drinks has been poisoned for some time by the Emperor, but that she is planning a rebellion to overthrow him. The acting and the operatic drama are enjoyably over-the-top - it seemed to complement the impossible fighting skills on display. My apologies to genuine commentators for the inconvenience. Crown Prince Wan confronts the Empress, and when she admits to planning a rebellion, he is anguished, and tries to kill himself with a knife, but survives.
She has borne him two sons and raised his eldest. Prince Jai refuses and kills himself, and as he does so, his blood spills into another cup of poisoned tea that has been brought to the Empress, turning the tea red. Summoning a group of his own soldiers, Prince Yu demands the Emperor to and offer him the throne. It is the slowly grinding down of a person's will through day-in and day-out abuse. Besides, sometimes excess can be good.