PivoGirl

To those who shun this film due to its supposedly hidden Communist agenda, I've but one comment: learn. The tradition of historical martial art fantasy has become a powerful unifying force for all Chinese-speakers world wide. People with different political mindsets can embrace this genre equally because in it lies a connection to the glorious past of the Middle Kingdom. Call it escapism if you will, but we are indeed in the age of wizards and elves and hobbits with a vague nostalgia for simpler days. At first doubtful of Director Zhang YiMou's ability to handle this genre, I was pleasantly surprised by his ability to create a piece of art that's complemented by great sword play. And at the heart of his artistry is China's cultural arrogance--not a governmental scheme to brainwash people. Before a time of unity, confusion and chaos reigned. Doesn't that describe a lot of places and times in history? People shed blood and made personal sacrifices to bring about change and to harbinger more peaceful days, isn't this a merely human reaction to confusions and chaos? Well, what beautiful reactions Zhang YiMou gave us with his assassins.

Most of us do recall the exuberant performance of Yul Brynner, and for decades, the deprecatory King and I stood for the backwardness of new Asia. True, Andy Tennant "exploited" history as much as Anna Leonowens; yet as Tennant pierces the mist of Bangkok to reveal a revolutionary monarch, the plot matters little. It's all about characters in this lavish drama, rich with colors and detailed characterization. Despite critics' doubts of Foster's accent and occasional chafe in the role, the new mother is radiant in the role of Anna. Foster's techniques truly add a shade of credibility to the story--however fictitious it may be. Chow Yun-Fat, on the other hand, is hailed as the only thing brilliant about this movie by cynics and zealots alike. This god of actors, summons forth such compassion and power behind his subtlety: a smile, a wink, a hand motion--even w/ out his trademark gun and cigar, Chow still dominates the screen with his towering presence. This presence is so tender and touching that the entire cast rallies around his performance: from passionate Bai Ling (as Tuptim)to mischievous Melissa Campbell (as young princess). When I titled this review "a visual regale", I meant to emphasize that the real recognition this movie received during the awards season was indeed its dazzling wardrobe. Against the backdrop of the magnificent replica palace of King Mongkut built in Malaysia, the elaborate Courtier silk, Victorian satin depicts a glamorous view of Asia struggling to progress. And although many say the film drags a bit, personally I prefer this kind of old fashioned romance that let the aroma of love sink in and sip through the screen. A TRUE DELIGHT!

In a year overwhelmed with reminiscent films, Elizabeth rises above the rest to become one of few stunning manifestations of the Hollywood Renaissance. Certainly acknowledged by the Oscars garnering 7 nominations, Shekhar Kapur's intimate portrait of a young Elizabeth further expands the modern view on a distant monarch, whose maturing reign as well as taming nature continued to dazzle the 20th century viewers.

Presented here by a superb cast led by Golden-Globe winner Cate Blanchett, early Elizabethean era turmoil and upheaval are captured brilliantly. The lush set itself is a feast for the eye as the audience is drawn to follow a passionate young Elizabeth's path. Against the dark setting of medieval stone castles, a blooming Golden Age approaches as England expands to take control in a world of great unrest after Catholic Queen Mary's death. Her Protestant half-sister, Elizabeth daughter of Anne Bolyne is placed on a throne of a kingdom torn between religion. Cate Blanchett does a fabulous job capturing the details of a frustrated young woman waking to the merciless reality of queenhood--surrounded by enemies such as Norfolk (Christopher Eccleston). Constantly by her side is her reverent adviser Sir William Cecil (Richard Attenborough) who advises Elizabeth to marry for convenience choosing from a "pool" of ready political candidates--while Elizabeth herself is long set on her lover from the past Sir Robert Dudley (a charming Joseph Fiennes). Yet just as England learns to wake up from the medieval dream, Elizabeth learns the bitterness of betrayal as she looks to Sir Francis Walsingham (Jeffrey Rush)'s counsel.

Focusing on Elizabeth's subtle changes of phase from fire to ice at a distant in the midst of a grander panorama beautifully shot, the audience gradually distinguishes her footsteps from the shedding of innocence to a tough ruler that dares to strike first against her enemies, to ultimately become the Virgin Queen to reign above all men.