The Soong Sisters

On the eve of the turnover to China, Mabel Cheung decides to soft-pedal (some might say "warp") history in favor of the party line. This is not so much the story as legend of the Soong Sisters, three well-educated Chinese women who (as the saying goes) respectively married for a love of wealth, a love of power, and a love of China.

As a soft-hued, Stanley Kwan-ish period piece, the melodrama works well enough. As a character study of these singular women, it is disturbingly deficient; only Maggie Cheung as Ching-Ling, the socially conscious husband of Sun Yat Sen figures close to what we know. As history...well, let's just say that the film is oblivious to the oldest sister's well-documented draconian schemings, not to mention the youngest's public charisma crossed with spoiled petulance.

It's critical to the film that these three extraordinary women be portrayed as personable; as Ai-ling, the oldest sister, Michelle Yeoh is always engaging and instantly likable. The real Ai-ling may have put on a show for friends and diplomats, but the record tells a different story, which includes political assassination and worse. A film has to be evaluated on its honesty, the The Soong Sisters -- perhaps consciously, perhaps not -- tells lies that brutalized generations.

This film does have extraordinary set-decoration and photography, and its story is quietly engaging. A few even sniffled at the poignant finish. I can imagine there's just as much reason to react in anger. If you must, see it for the high-budget glory, but dismiss it as anything but fiction.

9* out of 10

This stunning non-fiction epic is filled with cinematic splendour. Base on accounts of the social upheavals in various points and eras in Chinese history, it is filled with gorgeous cinematography, great score by Kitaro and great cast. Historically accurate if not, a few minor point may be incorrect, but as a whole, it shows you the big picture.

With some of the best stars there is from China, Taiwan and Hong Kong. Maggie Cheung, Michelle Khan and Vivian Wu portrayal as the three sister are excellent. But the most powerful in performance are from the men. Jiang Wen (outspoken Charlie Soong) also a favourite actor of mine, Winston Chou (charismatic Sun Yatsen) and Kuo Chiuwu (commanding Chiang Kaishek) are powerful and haunting.

Despite an 18 minute footage cut from the original, still its a great direction from Mabel Cheung. As a loyal fan of great movies from China, in likes of directors Yimou, Kaige, XieFei and HePing, Soong Sisters to me will be one of my personal favourite masterpiece, one of the few from Hong Kong.

Genghiz

I was able to view this film at its American premiere at an historic theatre in Macon, GA. Why Macon, GA? Because the Soong sisters were educated at Wesleyan College, in Macon, GA. I was a student at Wesleyan at the time and was already in awe of the "aura" of the Soong sisters. This film only increased that awe. Being a history major, historical films are often difficult to for me to watch whenever there are any inaccuracies. However, I was completely engrossed with this film from the first beautifully shot scene to the last. The artistic merit of this movie is enough of a reason to watch it. I can't recommend this film to everyone; it is long, about history, & has subtitles (which my husband would argue makes for a horrible film). If you like films which draw you in & leave you wanting more, this is a good addition to your collection.

It is interesting, and logical of course, that the reaction to this Hong Kong flick ranges from anathema to anthem, but, for overseas Chinese who neither speak the lingo nor are too familiar with the facts, this "Soong Dynasty" cinematic fable is more than watchable. That it is more fable than fact is readily obvious, yet the fable is more than entertaining. It is doubtful in the extreme, that Ching-ling survived miscarriage and 42 days sloshing through the marshes as portrayed, but until a more sober and satisfactory account of Mme. Sun's life and accomplishments are on the film record, this portrait will have to do. The production is super, even if the glib pictorials may off-put in their slick projections. And, finally, from this perch, one of the most engaging sidelights here is the wondrous staging of the opera house, wherein Chiang Kai-shek ogles and woos May-ling. I found myself wishing the principals would get out of the way to let the opera speak for itself in toto. Reminded me of how Hollywood always cut away from more interesting spectacle to zoom in on the treacly romance of the overpaid and under-talented "stars." Oh, well, you can't have everything, and there was enough of the opera and its stellar performers, inter-cut nicely with war footage. Soneone should make a film about Chinese opera, and I don't mean that saga about the two star=crossed Peking Opera stars, and especially not that impossible restaging of that improbable romance between a French diplomat and a cross-dressing starlet.

Mabel Cheung's abuse of her talents for a tribute(or bribery) to main China. Her femini-nationalism has shifted from warm and sympathetic episodes of Chinese emigrants to a bravado of Song sisters' historic activities during the political turmoil of modern China. Kitaro's music and all-star castings are just a whip of exceedingly sweet cream decorated on a clumsy cook's cake, in order to hide the black burnt sides. They did not want cream but cake for the celebration of Chinese retrieval of Hong Kong!