Curse of the Golden Flower

Zhang Yimou’s latest film is a spectacular drama of Shakespearean proportions. Extremely colourful and anchored in theatrical traditions, this is almost like a filmic opera. The year is 928 AD in Tang dynasty China. We follow the imperial family in all its dysfunctional decadence, with its intrigues and intricate family relations – and not least secrets. The Emperor (a powerful Chow Yun-fat) is a cold despot who exercises his control over his family with an iron hand. The Empress (marvellously personified by Gong Li) is seemingly weakened by years of illness but an unrelenting desire to rebel is boiling behind her perfect facade. Together with their two sons and the Crown Prince, the Emperor’s son from a previous marriage, they move like chess pieces in their lavish palace, always watching out for each other’s next move.

What is striking about this film is its enormous dimensions, in everything from the opening sequence where hundreds of court employees prepare for a new day in the imperial palace to the massive battle scenes – and with a level of detail where every hairpin is intricately designed. The film is also stylistically striking, with its kaleidoscope of colours. It is not surprising that this is the most expensive feature film production in China so far. But behind the golden draperies, violent emotions burn: controlled anger, desire, greed and jealousy. Curse of the Golden Flower is a chamber piece in immense surroundings, with a taste of Greek tragedy as well as Chinese opera. akek