Curse of the Golden Flower (2006)

CURSE OF THE GOLDEN FLOWER is director Zhang Yimou’s third martial arts-tinged screen epic to date. It’s less the full-on wuxia working of his previous action films HERO or HOUSE OF FLYING DAGGERS and more a full-bodied Shakespearian tragedy where court intrigue supplants jiang hu ethos and rivalries. Yet it still retains eye-popping action sequences we have come to expect from Zhang’s continued partnership with Hong Kong action director Tony Ching Siu-tung.

Employing much of the same talent behind the camera, CURSE shares the arresting visual opulence of Zhang’s previous works. It also possesses the same underlying melancholy, yet explored with greater delicacy. This is by far Zhang’s most intimate “action” story and this strikes a bold contrast to the film’s grandiose battle sequences and ultra-extravagant art direction from production designer Huo Tingxiao and costumer Yee Chung-man.

Set in the 10th century during the declining years of the latter Tang Dynasty, CURSE chronicles the crumbling lives of a fictional Imperial family beset with familial dissonance during a time that is meant to be joyous. The film’s English title refers to the chrysanthemum, a flower that features prominently. It is the centerpiece for an annual festival known as Chong Yang, which the Imperial City is seen busily preparing for. In Chinese herbal medicine, the flower is used for detoxification and to drive off evil, while the festival derives from a legend about how villagers escaped disaster by climbing a mountain and dispelling evil with chrysanthemum wine. The chrysanthemum also serves another more subversive purpose in the film. It is the symbol of rebellion against the Emperor (Chow Yun-fat), instigated by his own wife (Gong Li).

Zhang takes great care in gradually unraveling the deep-seeded hatred that exists between these two, even as they publicly go about the business of running an Empire on the eve of the festival. Not only is there no love between them, but it comes to light that the Emperor has recently begun to poison his wife with small doses of a toxic mushroom in a concoction she must take daily, supposedly for her health. She eventually learns the truth when a ninja-like spy arrives in the night bearing the proof. It turns out that this spy has her own personal interest in undermining the Emperor. In retaliation, The Empress plots a coup and begins embroidering chrysanthemums that are to be worn by troops loyal only to her.

Earlier, the wary Emperor had warned his second son Prince Jai (Jay Chou) against taking the throne by force during a duel between the two. Jai had recently returned from battles along the border and in a way, their sparring match was a way for the Emperor to size up the capability and intentions of his ambitious son. This is a classic wuxia motif that Zhang blends marvelously into the story. Martial arts is often used as another form of communication, a way to see into the mind of friend and foe alike in a society where maintaining “face” comes before frank verbal conversation.

The Emperor’s concerns are well-founded, but his understanding is not. He rightly discerns Jai’s ability to turn against him, but not Jai’s reasons for doing so. It is not ambition, but filial love towards his ailing mother that drives Jai to reluctantly agree to lead the fateful rebellion against his own father.

Meanwhile, the situation is further complicated by the Emperor’s other two sons. Crown Prince Wan (Liu Ye) is the Emperor’s favored son, born of a previous wife. But he neither possesses the convictions nor martial skills of Jai. Yet it is his illicit relationship with his own step-mother and the Imperial Doctor’s daughter that proves to be his ultimate undoing. Then there is Prince Yu (Qin Junjie), the youngest of the three. He is seemingly the least dysfunctional, as if his youthfulness has spared him from the strife surrounding him. But nothing could be further from the truth as we learn in perhaps the most dramatic moment of the film.

All of this subtle nastiness slow boils in the first and second acts, until the inevitable violent confrontations break out. There are two major action sequences, both highlighted in the previews. The first is where the Emperor orders his army of assassins to take out a recently appointed official. Ching Siu-tung’s wire-work mastery comes into play here as “ninjas” descend from cliff tops with roped scythes in hand. As the official and his family struggle to escape with help from his personal bodyguards, Ching unleashes an exciting chase sequence in a canyon. It has the feel of an Indiana Jones action piece set in a wuxia environment. It takes place at night so it lacks the rich color palette that dominates the rest of the movie, but that’s actually a relief.

The final sequence where Jai leads a golden army against the Emperor and his forces is as epic and stunning to behold as many of the battles in the LORD OF THE RINGS films. The use of a shield wall and hundreds of archers is dazzling and reminiscent of the CGI-assisted battle sequences in HERO. And yet, perhaps by design, it comes with a bitter taste. This is not a film to cheer on the heroes. There are no heroes and there are no winners. In the most elaborate fashion, Zhang uses this sequence to drive home the pettiness of his characters, the rot that festers under the shimmering golden armor and behind inner walls adorned with the richest of colors and patterns befitting a palace for gods, not men – at least not these men and women who are as bloodthirsty and hateful as Chow’s swordsman persona in CROUCHING TIGER, HIDDEN DRAGON was noble and lenient.

Although I miss not seeing any real martial arts stars in Zhang’s latest, the casting couldn’t have been better for the dominate dramatic scenes. Chow is almost frightening in the strength and cruelty of his character. Although he started out in comedy, there was once a time when it was hard to imagine him without twin Berettas and a cigarette hanging out of his mouth. But not anymore. This is his best acting performance in years. His reactions toward the end of the movie sent chills down my spine.

Likewise, Gong Li plays her character to perfection and adds wonderful nuance. This should not be surprising since Zhang previously directed her starring roles in what many consider to be some of the greatest Chinese films of all time.

As Prince Jai, pop star Jay Chou holds his own well among these screen giants, both dramatically and in his screen fighting execution. He previously found success with his debut in INITIAL D, but this puts him on a whole different playing field. He’s a big fan of the martial arts genre and puts a lot of related choreography into his live shows so it’s likely we’ll see him in more action roles. Unlike some of his pop-crossover peers, I actually think he has a chance at substantial success in acting on par with Andy Lau.

Viewed as a swordplay movie, I was disappointed with CURSE. It doesn’t have as much action in it as Zhang’s other wuxia pian and the finale was more CGI and wide-shot
spectacle than I would have liked. Considering the extreme attention to detail given to every visual aspect of the movie, I’m starting to get the feeling that Zhang is overplaying his hand when it comes to this genre. At some point you have stop trying to wow people with the look of a movie and get down to filming some meaty action with purpose. Zhang managed to balance it with HERO, particularly in the duel between Donnie Yen and Jet Li. That scene alone is a modern masterpiece. HOUSE had some great action in it, but the ridiculous love story derailed it. But in CURSE there is just too much dazzle and not enough substance. I know Zhang is intentionally trying to contrast visual beauty with the ugly nature of humanity, but the effect of sensory overload is still the same.

What saves the day is the great script and acting performances, but Zhang could manage that on a fraction of the budget. This is where he succeeds and Chen Kaige failed with THE PROMISE. Zhang Yimou is no doubt a brilliant filmmaker and very capable when it comes to working with Hong Kong action. I would just like to see him switch gears and tackle a wuxia pian or even a kung fu movie where everything isn’t drowned in a kaleidoscope of color or Imperial spendor. Hong Kong and Taiwanese filmmakers have worked with far fewer resources for years and have many wonderful classics, as good or better to show for it.