"Curse of the Golden Flower" is a visually stunning film that is set in ancient China during the Tang Dynasty. The movie revolves around a power struggle within the royal family, focusing on Emperor Ping, his neglected empress, and their three sons. The film explores themes of betrayal, revenge, and the destructive nature of power. The cinematography in "Curse of the Golden Flower" is breathtaking, with vibrant and elaborate sets that bring to life the opulence and grandeur of the Tang Dynasty. Every frame is filled with intricate details that showcase the richness of the era, from the elaborate costumes to the ornate palace halls. The use of vibrant colors, particularly gold, enhances the visual spectacle of the film and adds to the overall sense of extravagance.
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Dripping in melodrama, this tale of the conniving of one mother and three sons to usurp the throne of their brutal patriarch a past-master in conniving is delivered at a feverish pitch, its sights set on a Shakespearean delirium of familial dysfunctions. Then what is a waspish queen to do, rightly suspicious she s being poisoned by her husband with flecks of a peculiar black mushroom sure to bring on gradual dementia.
The use of vibrant colors, particularly gold, enhances the visual spectacle of the film and adds to the overall sense of extravagance. The storyline itself is filled with intrigue and political machinations. As the plot unfolds, the audience is drawn into a web of deception, as each character struggles to gain and maintain power.
Curse Of The Golden Flower Review
China, AD928. A royal family reunion cooks up the usual array of betrayals, poisonings, back-stabbings, front-stabbings and wholesale carnage of loyal warriors. Its the Festival Of The Chrysanthemum!
by Ian Nathan | Published on 30 03 2007 Release Date: 13 Apr 2007 Running Time: 114 minutes Certificate: 15 Original Title: Curse Of The Golden FlowerThe conclusion to Zhang Yimou’s wushu trilogy — following in the tiptoes of those luxuriant fusions of violent Chinese mythology and Mardi Gras fabulousness, Hero and House Of Flying Daggers — commences with the ordered bustle of a new day at the royal palace within a palace within a palace. The place is a giant, boudoir-styled metaphor for lurid and hidden secrets. Here thousands of fetching female courtiers are strapped into corsets, bottlenecking their waists and forklifting their cleavages like medieval Wonderbras, all for the benefit of His Royal Cruelness, Emperor Chow Yun-Fat. His wife, Her Royal Schemingness Empress Gong Li, who manages the remarkable knack of crocheting golden flowers wearing three-inch false nails, spends much of the time competing with the opulence of her own chest. For his last blast (so he says) of shimmering martial artistry, Zhang boldly accompanies the blurs of swordplay and storms of emotion with the bosomy exuberance of the Benny Hill Show. Little wonder Curse Of The Golden Flower is so unsteady on its feet. Dripping in melodrama, this tale of the conniving of one mother and three sons to usurp the throne of their brutal patriarch (a past-master in conniving) is delivered at a feverish pitch, its sights set on a Shakespearean delirium of familial dysfunctions. Gone is the heartbroken poetry of Hero for the billowing nonsense of farce. Then what is a waspish queen to do, rightly suspicious she’s being poisoned by her husband with flecks of a peculiar black mushroom sure to bring on gradual dementia? Amid the plot-drenched, perspiration-soaked first hour, who can say if the potion hasn’t taken effect? There’s a graveyard of skeletons about to come rattling out of the family closet (timorous princes should especially beware which lovely servant girl they choose to unwrap); a Dynasty of sexual intrigue and death-sliding ninjas, designed within an inch of its life. There is just no stopping Zhang and his production designer Huo Tingxiao. Every frame comes closer to the visual spew of a Woolies’ pick ’n’ mix counter than the plushest palatial galleries history can throw up. Engulfed by light and colour, you don’t know whether to watch scenes or lick them. And don’t get us started on the costumes… This chromatic trilogy has been read as Zhang’s reaction to growing up in Mao’s grey-cast Communist China, the chance to finally cut loose, but he may have lost control. Even when all the heated doings of the inner sanctums yield to the clang of battle, the battalions of computer-assisted warriors line up like terracotta statues co-ordinated to mummy/daddy factions of gold and silver, in a courtyard stuffed with potted chrysanthemums. It’s extraordinary, but overwhelmingly so. Not to forget the thousand-strong clean-up crew perched behind the scenes, mops and fresh flowers at the ready. History is its own poison: dynasties can be swept aside as swiftly as fallen petals. Thank whichever heavens, then, for Gong Li, Zhang’s erstwhile muse, former paramour and leading lady for his groundbreaking films: Ju Dou, Raise The Red Lantern, et al. It is her return to his side that keeps the film from pitching face-first into self-parody. Even playing a combination of Lady Macbeth and Joan Crawford she grounds the giddy storyline with real tragedy, a woman clinging on to her sanity. It’s a wonderfully provocative performance, often yoked to headdresses that would give Queen Amidala the eebies. Sensibly, perhaps, Chow Yun-Fat plays it cool. With a self-satisfied glint, he’s all gleeful double-takes and smug chin-stroking, rightly suggesting he is the daddy. Even by the end, as secrets uncoil with the kind of histrionics reserved for Justin Timberlake gigs, he’s barely let his hair down. Indeed, as a rule of thumb for those venturing inside such a heady, unfettered experience, you can judge any character’s mental wellbeing by the unravelment of their locks. It’s one hell of a bad-hair day.
Imagine The Lion In Winter set at a Kylie gig. You can have too much of a good thing, but it is a good thing.
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China, AD928. A royal family reunion cooks up the usual array of betrayals, poisonings, back-stabbings, front-stabbings and wholesale carnage of loyal warriors. Its the Festival Of The Chrysanthemum!
This struggle is further complicated by the hidden desires and secrets of the characters, adding layers of complexity to the narrative. One of the standout performances in the film is Gong Li's portrayal of the Empress Phoenix. She brings a sense of grace and strength to the character, capturing the empress's deep emotional turmoil and her determination to survive in a hostile environment. Chow Yun-fat also delivers a solid performance as Emperor Ping, showcasing the conflicts and vulnerabilities within his seemingly powerful and authoritative persona. Despite its visual and narrative strengths, "Curse of the Golden Flower" does have its flaws. The pacing of the film can be slow at times, with moments that feel dragged out, particularly during the build-up to the climactic battle scenes. Additionally, some of the plot twists and character motivations may be confusing for viewers who are not familiar with Chinese history and culture. Overall, "Curse of the Golden Flower" is a visually stunning film that offers a glimpse into the decadence and political conflicts of ancient China. It combines breathtaking cinematography with a compelling storyline, exploring themes of power, betrayal, and revenge. While it may not be without its flaws, the film is an engaging and thought-provoking cinematic experience that leaves a lasting impression..
Reviews for "Comparing Curse of the Golden Flower to Other Historical Dramas: A Review"
1. John - 1/5 stars - I found "Curse of the Golden Flower" to be a complete disappointment. The plot was convoluted and hard to follow, the characters lacked depth, and the action sequences were poorly choreographed. Additionally, the excessive use of CGI made the film feel artificial and took away from the overall viewing experience. Overall, I would not recommend wasting your time on this film.
2. Sarah - 2/5 stars - I had high hopes for "Curse of the Golden Flower" due to its visually stunning trailers, but unfortunately, the movie fell short. While the costumes and set designs were beautiful, the storyline was slow-paced and lacking in substance. The characters were one-dimensional and their motivations were unclear, making it difficult to fully invest in their journeys. The film's attempts at showcasing epic battle scenes were underwhelming and failed to evoke any excitement or suspense. Overall, while it had potential, "Curse of the Golden Flower" failed to live up to its initial promise.
3. David - 2.5/5 stars - "Curse of the Golden Flower" had a promising premise, but unfortunately, it failed in its execution. The dialogue felt stiff and unnatural, and the performances were lackluster, leaving me uninvested in the characters and their fates. The film also struggled to find the right balance between drama and action, resulting in a disjointed viewing experience. While there were some visually stunning moments, such as the elaborate palace interiors, they were not enough to compensate for the film's numerous flaws. Overall, "Curse of the Golden Flower" left me feeling underwhelmed and unsatisfied.