La leyenda del río rojo

I can see that Yimou Zhang tries really hard to have multiple twists in the movie in order to surprise the audience as much as he could, and the movie has some fun moments for sure, but I am not convinced by the final twist - the purposes of the gang, which is to pass on the poem written by Yue Fei before he was executed. This just seems too nationalistic, political, twisted and pointless, and literally makes this movie more like a propaganda movie than a piece of art, as the core value is so twisted!

People's lives are more precious than anything. It's a great deed that people sacrifice themselves to save another's life, but it's just a brain wash that people are willing die to pass on the love to their ruler.

It's really sad to see the twisted value in so many Chinese movies nowadays, and Yimou Zhang just contributed another.

Zhang Yimou is the most famous Chinese director of all time, but even he cannot be sure to get away with social criticism after the clampdowns against Jack Ma, Hong Kong activists and CoVid critics. So what does a film maker do when he wants to address the frustration many of his compatriots feel? He resorts to satire, and sets the action comfortably far away in the past.

What starts out as a mystery concerning a missing letter no one must know quickly turns into slapstick comedy, and many viewers familiar with Zhang's epics feel let down by this because there isn't really any suspense. There are numerous twists and turns which seem haphazard and do not dive the plot forward. All the while the action is confined to the same palace grounds. It's totally understandable if this seems rather pointless and dull. And the Hamlet-like ending seems out of sync with the previous irony.

And yet, there is something beneath which only people familiar with authoritarian regimes will catch on to - the zeal of government officials to save their own skin with complete disregard to the task at hand. The characters constantly plot against each other and/or form allegiances to somehow emerge from the whole dilemma unscathed. It's mostly in vain because they are puppets of an invisible power - like in contemporary China, where no one can figure out the meaning behind the latest regulations, and where even the powerful thrive at the mercy of appearances. Even the title-giving poem, which could be seen as an allusion to Taiwan, is actually just another smokescreen for personal ambition.

If Zhang had made this into a straightforward mystery or wuxia, it could have been interpreted as subversive by the censors, but because it's farcical, it's all a joke so they can't. So even if the story is too convoluted and the black humor doesn't stick, it's probably still a breath of fresh air for many Chinese spectators and deserves its commercial success.

Man Jiang Hong, internationally known as Full River Red, is a mixture of a period drama and a conspiracy thriller taking place during the Shaoxing period of the Southern Song dynasty. The entire movie takes place at the prime minister's residence where a foreign diplomate dies under mysterious circumstances and a secret letter he was carrying disappears without a trace. A team of investigators uncovers a conspiracy that is much more significant than initially anticipated.

This movie convinces on several levels. It has been directed by experienced veteran Zhang Yimou who has been responsible for cinematic masterpieces such as Shadow, The Flowers of War and Hero. While Full River Red isn't among his greatest movies, the calm, precise and swift camera work, the impressively detailed bird perspectives and the use of epic backdrops make this movie a visual sensation.

Full River Red brings the Southern Song dynasty to life with numerous imaginative details. This includes the diversified clothing, the way the huts and palaces are designed and also the use of numerous different weapons. The attention to detail in this film is particularly outstanding.

This film also entertains with a fluid blend of genres that will keep viewers intrigued through its ambitious running time. The movie starts with some slapstick comedy scenes, quickly features some visually stunning martial arts sequences, develops into a profound drama and ultimately becomes a gripping conspiracy thriller. The transitions between all these sections are very smooth as each genre gets about thirty to forty-five minutes to start, shine and fade out before the next section takes over. This procedure makes for a highly entertaining final result.

This movie however isn't without its flaws. The running time of one hundred fifty-nine minutes is a little bit too long for one single film. Zhang Yimou could have easily cut half an hour worth of material to avoid unnecessary repetitions and slow transitions. The plot is very clever but at times includes a few too many twists for its own good before concluding on an exaggeratedly patriotic note that many contemporary Chinese movies are dreadfully suffering from. One last element to criticize are the acting performances that are decent to good but fail to leave a deeper impression. The country's greatest actresses and actors can be found in other contemporary films such as Ride On, Sakra and Post Truth rather than this film.

At the end of the day, Full River Red is a wonderful movie for anyone interested in ancient Chinese culture, creative martial arts films and twisted conspiracy thrillers. For anyone who appreciates all three elements, this movie should firmly sit among the top twenty films of the year. However, this movie isn't as great as the promoters would like us to believe and Zhang Yimou has done better jobs on numerous occasions in the past.

The plot is told in the form of a double male lead in a fast-moving, ancient idol scripted secret room. I can appreciate the helplessness and hopelessness of the film's producers.

The short video-style comedy starring Shen Teng is the highlight of the film, and Yi Yiming Qianxi supports the vast majority of the main line and growth story, but it is clear that the character he plays is not doing well in the plot, which is the problem of the script, not the actor.

The cast is undoubtedly too strong in China, when scoring it is recommended to give the cast 6 points first, and then reduce the score according to other issues as appropriate.

I can read some of the comments on these reviews - firstly it is not for the person who don't appreciate layers and nuances of crafty human games. Those who like pure action or hong kong type of simpified plots will not appreciate this and will mark it as low score. However I suspect Zhang is painting on this broad canvass multiple themes with the underlying one on the geopolitics around China now, hence the hit in China with the masses there. That call to arms when they feel besieged by outside forces has a resounding clang from the recitation of the poem of the name of this film. The other reason is, China audience has a much deeper appreciation for their history and cultural reference - and these themes found in the movie has resonance with them.

You can see from his earlier works - where symbolism and the tapestry of how he structure his sets are now pared down to very basic backdrop. The pacing and the dialogue and all the twist and turns as he slowly introduce it while you peel the layers of intrigue built into the whole story. It is for the mature audience who has tasted the games in their worklife and being caught between two rocks - you can sympathise with the characters as they try to wit themselve out of the situation which we had experienced before in different guise in our lives - all through the film you try to keep an even keel whether this whole thing was planned or it was adapt as it go on - this is the feeling you develop as you keep watching.

The pacing was excellent, the music designed to be a merge of old and new is supposed to be jarring to create the dissonance between the different scenes and quicken the tension - everyone has an angle and it's like trying to keep an eye on where the ball is in one of the three cups as these are being moved around quickly. As the layers peel more and more, you can identify with the different characters, their motivations and positioning each of them working on - and it's like every single piece of chess is making their own moves on the board within their own confined rules - it is for this reason those who want more depth and layers to their movie watching will appreciate Zhang move to pare down to just basic simple set (not much of sets) and then all the focus is on the characters and the games they all have to play while the sword of death hangs over the two main characters and all those who fall into their orbit.

And at the end of the show - there was an actual final objective - just that there were many ways they had to adapt to finally reach that. And with that Zhang Yimou perform his coda elegantly bringing the symphony to an end. Chapeau Mr Zhang, chapeau !