Purple Butterfly

"Purple Butterfly" puts us in media res in a moment in history--the years leading up to the Second Sino-Japanese War--that may be unfamiliar to some viewers. It links the lives of several people tragically brought together with a time-scrambling plot, a device familiar from "Amores Perros." This combination may account for some of the impatience and confusion some viewers have expressed; but I found the film brilliant. I particularly liked the courageously (for Westerners)slow pace of many scenes--the scene at the railway station, where the protagonist (played by Zhang Ziyi) gradually moves from background to foreground, is especially good. Those looking for Hong Kong-style action will be disappointed. Those open to a humane, thoughtful twist on the intrigue genre will probably like it. Fans of Ms. Zhang from her martial arts films will have the opportunity to see her in a less stylized role.

Purple Butterfly began in silence, a risky one at that. It relied on the gestures of the actors/actresses, the jumpcuts, and the hand-held camera-work, reminiscent of early Italian Neo-Realism and/or Cassevettes, to begin the story. I have to admit that I dozed off somewhere within the first 30 min., but that was mainly due to my lack of sleep. Nevertheless, I was anxious for the ending of the film.

I enjoyed the cinematography, the acting style, the editing, the music, and the mixing of genres. It's like an epic espionage war love story, the likes of a collaboration between Hitchcock and Truffuat. There was some poetic scenes, and suspenseful ones as well. The main problem I had was the narrative structure which seemed confusing to me. It also didn't flow well together. Somewhere during the middle of the film, it becomes non-linear without warning me.

In conclusion, I give the movie a B-. It is definitely worth seeing and may will be a very historic film in regards to its film language in years to come.

There are a few things director Ye Lou likes more than I do: silent, open-mouthed screams, rain and quick dissolves. His movie Purple Butterfly is composed mainly of these things, with glimpses in-between of a story about two lovers caught up in the Japanese occupation of Manchuria during the '30s.

I know what I'm supposed to think of this movie: it's a tone-poem, an evocation of some deeper mood, something running below the surface of the action. But I can't help feeling that the whole exercise would've been more worthwhile had the director demonstrated less ambition and more good old-fashioned story-sense.

There are these two people, one a Chinese woman working for the underground, the other a Japanese fellow toiling for his country's secret-service. We know they're lovers because we see them in bed together, but for at least half the movie, we have no real idea who these people are, what their roles are in the drama that appears to be playing out before us. Now, I'm no dummy, and certainly don't require everything to be spelled-out for me in the dopey terms of most Hollywood movies, but I do appreciate it when the director makes at least a cursory effort at filling me in on the details of the story, like who people are and why I should care about them.

The movie doesn't let you get a food-hold, it's too busy being poetic and rainy and surpassingly glum. This might be all right if the images had some great plastic beauty, but the blue-toned pictures Ye Lou puts in front of us, dissolving from one to the next like he's putting on a museum slide-show of Chinese history, are not exactly the best eye-candy I've seen lately. As an exercise in image and cutting the film is not hall-of-fame material.

The stuff of good cinema is there in Purple Butterfly, but it's buried under too many layers of Cinema.

"Purple Butterfly (Zi hudie)" is a Chinese take on "Charlotte Gray."

There are also references to "The Third Man" in how the characters' loyalties and knowledge of each other's motives switch, to "Shanghai Express" for the trains, locales and extensive close-ups of beautiful faces, and to "Casablanca" as if these characters had more dialogue they would probably say something about their personal lives not amounting to a hill of beans amidst war breaking out in the late 1930's.

Elaborate period production design and lush cinematography with very slow camera movement substitute for dialogue.

I know very little of Sino-Japanese relations at this period so I probably missed important portents as the film first follows what I thought were two sets of star-crossed lovers in Manchuria and then Shanghai, whose lives only gradually obviously intersect.

I consequently found some plot points confusing, particularly as I wasn't sure if the characters were spectacularly bad shots at point blank range or if we were seeing flashbacks to the point that I wondered if the projectionist had mixed up reels.

I also wasn't sure if I was supposed to have a positive reaction to Tôru Nakamura's character, as the movie is so virulently anti-Japanese, but I found him a very charismatic actor who had terrific chemistry with the very expressive Ziyi Zhang despite the formalized set pieces of their interactions and even though I wasn't really sure about her personal feelings within her Mata Hari activities.

It was completely gratuitous to close the movie with newsreel footage of Japanese atrocities in various Chinese cities during the war. Yes, we know this war was hell on civilians but hey I'm watching for the romances.

Purple Butterfly has a chaotic editing style and claustrophobic cinematography. The story line cuts back in forth from the past to the present and is hard to follow. The scenes are rainy and blurred and the cinematographer's choice of lens made some of the action blurred. This all makes Purple Butterfly seem like a bad movie, but it is suitable to the mood and story being told. Purple Butterfly is dramatic and experimental in its ways and was one of the best films at Cannes Film Festival.