Curse of the Golden Flower is a Chinese epic drama film directed by Zhang Yimou. The film is set in China's Tang Dynasty and tells the story of a power struggle within the royal family. The main idea of the film is the destructive nature of greed and the obsession with power. The story revolves around the Emperor and his Empress, who harbors a secret affair with her stepson, the Crown Prince. The Emperor, aware of his wife's infidelity, plans to poison her and use the occasion of the annual Chrysanthemum Festival to carry out his plan. However, unbeknownst to him, his wife has also conspired with her lover to poison him.
However, unbeknownst to him, his wife has also conspired with her lover to poison him. As the Chrysanthemum Festival approaches, the palace becomes a hotbed of secrecy, betrayal, and violence. The Emperor's three sons are also entangled in the web of deceit, each with their own hidden motivations.
Pharaohs qcurse 1957
The low-budget film outfit Bel-Air Productions churned out a trio of black & white chillers in the 1950s. All produced by schlockmeister Howard W. Koch (director of FRANKENSTEIN 1970) and released through United Artists, the three titles consisted of the legends-of-horror romp THE BLACK SLEEP, the Karloff vehicle VOODOO ISLAND and this film, PHARAOH’S CURSE (aka CURSE OF THE PHARAOHS), no doubt the weakest of the bunch. Never before available on home video, PHARAOH’S CURSE now makes its DVD debut courtesy of the MGM Limited Edition Collection.
Desperate to find her archeologist husband, Sylvia Quentin (Diane Brewster, THE INVISIBLE BOY) joins Captain Storm (Mark Dana) to trek across the Egyptian desert and eventually stop the husband’s excavation of an ancient tomb. With a couple of British soldiers along for the journey, the group suddenly makes the acquaintance of a mysterious, exotic Egyptian woman named Simiri (Ziva Shapir), who joins them in search of her brother Numar (Alvaro Guillot), who happens to be the guide on the exhibition. Before Sylvia and the others catch up with her husband, strange things occur, including the disappearance of their food, water and medical supplies, and Sylvia nearly succumbs to a scorpion’s sting.
When Silvia and the group finally reaches their destination, its Captain Storm who finds himself storming into the ancient burial place, just in time to witness expedition leader Robert Quentin (George M. Neise) and his companions open up the sarcophagus of a high priest, and proceeding to cut open the wrappings surrounding his face. At this moment, poor on-looker Numar faints, but the worst is yet to come. He starts to age rapidly (becoming quite decrepit), embodying the essence of the long-dormant high priest, now a walking zombie who will stop at nothing to protect his pharaoh’s undiscovered resting place, killing off anyone in his path while feeding on their blood.
PHAROAH’S CURSE carries a screenplay that’s pretty standard stuff, especially when you’ve already seen every Universal mummy movie before it. A group of various Americans, Britishers and Europeans desecrate an Egyptian tomb: a centuries-old curse comes to fruition and the walking dead knocks off the blasphemous ones responsible. But the difference here is that the mummy doesn’t actually awaken, but rather embodies a living person who hence rots and becomes a decrepit and mummy-like vengeance machine. Even though to some he might resemble a very old man wandering around in loose, striped pajamas, the monster is rather effective in his few scenes, and there’s the added bonus that he’s something of a bloodsucker, biting the necks of his victims like a traditional vampire. A memorable scene has the monster’s crumbling, stone-like arm detached (pulled off) as it escapes through a heavy door.
The film boasts some impressive sets, and the location shooting in California’s Death Valley National Park is a believable double for what is supposed to be Cairo. Shot as a period piece and running only 66 minutes long, the film has a reputation for its dullness, but there’s still enough enticement to placate seasoned fans of older “creature features” type flicks, especially when the mummy was such an underused monster during the decade of the 1950s (the mummy had previously met Abbott and Costello and was about to be taken on by Christopher Lee in Hammer’s gothic horror rebirth). The cast is rather uninspired, but character actor George M. Neise will be familiar to viewers from several 1960s Three Stooges features, as well as his turn as Mr. Faversham in the “On Stage” episode of The Honeymooners. Here, he’s at his best, as the obnoxious expedition leader obsessed with uncovering the pharaoh’s tomb, and totally blasé about his failing marriage. Les Baxter, still years from his tenure at AIP, provides a moody score.
In 2007, MGM/Fox issued a press release that promised PHARAOH’S CURSE as part of a “Midnite Movies” DVD paired with CURSE OF THE FACELESS MAN, but the disc’s release was cancelled. Five years later, PHARAOH’S CURSE now joins FACELESS MAN as part of MGM’s Limited Edition Collection line of manufactured-on-demand DVDs. The film has been presented full frame (its original aspect ratio is reported at 1.37:1, despite it being shot in 1956), yet there does tend to be extra headroom in a number of scenes. The transfer looks very impressive, with the black & white image having sharp detail, deep black levels and not a blemish in sight and nothing in the way of grain. The mono English audio track is clear as a bell, with no noticeable hiss or distortion. There's no trailer on the disc, but chapter stops can be navigated at ten minute intervals. (George R. Reis)
The two sergeants who accompany Storm and Sylvia, Gromley (Richard Peel) and Smolett (Terence De Marney), are meant to be the film's source of comic relief, with the two of them having a sort of Abbot and Costello rapport between them. When the group stops at an oasis early on in order to rest and fill up their water containers, Gromley complains about being forced to be there, while Smolett calls it a, "Clean, outdoor life," as he's happy to be away from his wife and mentions planning on joining the foreign legion when he gets the chance. Later that night, Gromley shows Smolett how to properly prepare an outdoor bed for Sylvia, mentioning, "I don't care how you fix your bed, but you're making this for a lady, not your wife." Once he gets it prepared, he has Smolett lay down to test it and when he does, he gets comfortable, saying, "You could dream beautiful dreams sleeping here, you could." But then, Smolett rises up and asks, "Now, why'd you have to go and mention my wife?" When Simira appears and joins them, the two sergeants, despite noting her beauty, don't seem so sure about her, with Smolett commenting, "If you ask me, that beautiful mirage is a walking nightmare." The next morning finds him apparently sleeping with his eyes open, even though he's supposed to be on guard, and when Gromley comes over to rouse him, he finds that Mabel, the mule who was carrying their food, is missing. Smolett is at a loss to explain what happened, telling Storm that he never closed his eyes all night, while Gromley is sure Simira is behind it, saying that Mabel isn't the type to wander off. The sergeants are also the ones who discover that the water is gone, the two of them arguing since Smolett insists he filled the container that morning while Gromley blames him. After Sylvia is stung by the scorpion and Storm must make a choice about whether or not to take the shorter route to get her to safety, Gromley says he still doesn't trust Simira and would rather take his chances following the map, while Smolett says he doesn't think Sylvia will make it if they take the long way. Once the they reach the expedition's camp, the sergeants' role in the story is greatly reduced, although Gromley gets a couple of chances to confront the possessed Numar, only to be killed by him and drained of his blood. Smolett stays with the group, continuing to aid them in their investigation into what's going on, and when they leave the valley after learning the truth, Smolett bids farewell to Gromley, who's been buried alongside Robert Quentin and Brecht.
The film depicts the complexity of relationships within the royal family and the lengths people will go to secure their own power and survival. **Throughout the film, the curse of the golden flower, symbolized by a rare and deadly poison, takes on a metaphorical meaning. It represents the toxic effects of unchecked ambition, treachery, and resentment.** The visuals of the film are breathtaking, with stunning cinematography and elaborate set designs. The costumes are lavish and vibrant, reflecting the opulence and decadence of the royal court. The action scenes are choreographed with precision and flair, showcasing the director's mastery in capturing the intensity and brutality of the power struggle. The performances in Curse of the Golden Flower are top-notch, particularly those of Gong Li, who plays the Empress, and Chow Yun-fat, who portrays the Emperor. Their portrayals of a marriage tainted by distrust, betrayal, and longing are both captivating and heartbreaking. Overall, Curse of the Golden Flower is a captivating and visually stunning film that delves into the dark side of power and the destructive consequences of unchecked ambition. It serves as a cautionary tale, reminding viewers of the dangers of obsession and greed..
Reviews for "Analyzing the film's portrayal of female characters and empowerment"
- John - 2 stars - I found "Curse of the golden flower" to be quite disappointing. Despite the stunning visuals and elaborate costumes, the story felt convoluted and hard to follow. The characters were not well-developed, making it difficult to connect with any of them. The constant display of violence and betrayal became exhausting and overshadowed any potential emotional impact of the film. Overall, I expected much more from such a highly anticipated and visually impressive movie.
- Sarah - 1 star - "Curse of the golden flower" was a complete letdown for me. The exaggerated melodrama and over-the-top performances made it feel like a soap opera rather than a historical drama. The plot twists were predictable, leaving no room for surprises or genuine suspense. The excessive use of CGI in the battle scenes made them look unrealistic and take away from any sense of authenticity. I wouldn't recommend this film to anyone looking for a meaningful and engaging cinematic experience.
- Mark - 2 stars - Unfortunately, "Curse of the golden flower" fell short of my expectations. While the visuals were undoubtedly impressive, the story lacked depth and failed to captivate me. I found myself disinterested in the fate of the characters and their internal struggles. The pacing felt off, with certain scenes dragging on for too long, and others being rushed. Despite its potential, the film ultimately failed to engage me on an emotional level and left me feeling indifferent.