Raise the Red Lantern

Just another, in a very, very long list of films that document the abuses and misery suffered by women - this time in 1920s China but take a decade of any country and you'll find a plethora of these films. It's a shame that such a huge amount of material exists in the first place, let alone that it continues to this day. That said, the visuals are spectacular, the acting sublime, it is a beautiful thing to behold and the message is well and truly received and understood: we know who is in charge!

Every frame of this film explodes with excellent acting, cinematography, music and art direction. I never thought I would see something so beautiful in a foreign film since Ingmar Bergman's work. This is by no means, an art film this is a human film, while holding an ethnic background these people portrayed in the film are all of us and is probably what we would call a fable on the cruelty of humanity. I'am disgusted to discover this film isn't on video or DVD in america. It seems as if its popularity has run thin since the 90's but this is a masterpiece people!

I don't care what anyone says, this film belongs in the top 10 films of the 90s worldwide...the story, the implicit attacks on the Communist regime, cinematography, direction, and acting (Gong Li was superb) coelesced into one extraordinary piece of cinema magic that transcends both cultural and language differences. The film was so refreshing and exciting for me, yet it was also quite a dark film. Not a lot of "conventional action", instead, the intensity of the film comes from the actor's and their emotions. A very powerful film, and disturbing one at that. Job well done...Zhang Yimou was brilliant with this one. If you're a lover of great cinema, then this is a must. I'm already hounding at Criterion to take on this film.

Zhang Yimou solidifies his standing as one of cinema's most brilliant craftsmen with Raise the Red Lantern, a heartbreaking and fascinating look into the life of a young, well-educated woman who gives up her future to become the fourth wife of a wealthy landowner in 1920s China. Gong Li, the director's longtime muse, delivers a performance nearly unsurpassed by anyone, male or female, in the 1990s (and many other decades, as well). Her opening close-up is an indelible image of sorrow and resignation capable of drawing tears out of a statue. Zhang Yimou makes films as exquisitely composed as any master's painting, and his palette extends beyond the obvious beauty of Gong Li to include the details of the courtyards, lanterns, silks, and rooftops with an inexplicable mixture of tranquility and austerity.

In response to the comments that this film is boring, shallow or without a character to identify with: Please study some Chinese history before you make such judgments. The story we see is a visual treat but overlays a much deeper story of China in myriad aspects. Perhaps you are unaware that films and books of the period had to tread lightly on topics that were not merely taboo but could result in danger for all connected. Thus, a slight symbolic representation often took place. Sort of poetic shorthand. Not unlike Chinese art that may seem to be about the season of autumn but is actually about death or change or loss. Nevertheless, any film must stand on its own regardless of the background. This film includes acting scenes that are incredibly forceful and still so gentle. The photography, costumes, sound and music blend into a cinematic work of art. I found the character completely believable, a woman bound in a tradition from which she found no escape except death or madness. And for those who sneer at the opera singer, imagine how the music you enjoy would sound to someone who has a completely different background. Please accept cultural diversity and let your mind and heart be enlarged!