Purple Butterfly (2003) User Reviews

War-time intrigue minus the intrigue.

[aliasanythingyouwant · 5/10 · 31 March 2005]

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.

Rather muddled history to add flesh to an interesting emotional quandary.

[bigrichry · 6/10 · 11 March 2009]

This starts in 1928 with a young Chinese female student and a perhaps slightly older Japanese male student in Manchuria. He is at least being groomed to promote reactionary Japanese interests prior to a war and she is just a tender thing sucked in by the more worldly man. They go to bed together before he announces he is being recalled to his own land.

Four years later the foreign conquest is underway and another love story is shown with less emphasis on sex.

Another 5 years and things are boiling. The Japanese are more or less in control and a well concealed "Purple Butterfly counter insurgent group is hard at work messing up the new regime.

The first girl is quite involved in the native movement when she sees her prewar lover returned for direct management action especially getting rid of the resistance. She now has quite mixed feelings remembering her schoolgirl love and wanting to further the protection of her country. Like a good girl she reports her finding of the Japanese boy and is taken aback when instructed to reaffirm a relationship with him to help the local cause. As this is very much a life-and death business, her quandary is interesting to watch. There is not right-or-wrong answers or even good-or-bad. Further the young Japanese man is confused whether she is a lover to be counted on or a detested spy to be destroyed. Watching this story unfold keeps the movie alive despite the desolation of the times and the destruction of war all acted out in constant downpour and dull and smoky lighting.

As much as I would also like to have seen more light and life, I am not sure the important love-hate story could have been maintained therein.

I had debated whether to pick this up at Blockbuster and am not sure I made the right choice. My heart aches for these people.

disappointing, dismal and confusing

[kurtz-1 · 5/10 · 1 December 2004]

Over the last few years, I have seen a great many Chinese films, as well as many other Asian films (Korean films are my personal favorites) and have generally been more than pleased with all aspects of the films. Having recently seen Hero, a revival of Days of Being Wild @ the Film Forum in NYC and Goodbye Dragon Inn I was looking forward to seeing Purple Buttefly. They are usually all well acted, directed and offer interesting and compellign stories. I was also interested in seeing Purple Buttefly since I recently returned from a trip to China that included a visit to Shanghai.Now, the reality: I found this film to be a complete muddle -- highly confusing and very difficult to follow. (wish I had read the other two reviews before I went off to see this film.) I found myself ready to get up and leave several times.... there are these long pauses where nothing takes place ...(more time is spent lighting cigarettes than anything else in the film) and people are forever pulling huge pistols out of drawers....and the violence is almost made ludicrous with all the "ketchup" used to signify bloody encounters... OK, enough said.....

A note, because so few people seem to have seen this movie

[Chris Knipp · 21 January 2005]

Saw Purple Butterfly in NYC the beginning of December. I missed Xiao cheng zhi chun or Springtime in a Small Town by director Tian Zhuangzhuang shown there in early May. Quite likely Springtime is the better movie of the two by a wide margin. It's based on an earlier Chinese film according to J. Hoberman of the Village Voice: "Fei Mu's 1948 Springtime is widely regarded as a masterpiece-some consider it the greatest of all Chinese films. Never having seen it, I can only imagine how Tian may have annotated the original in his remake. The second Springtime is predicated on a sense of '50s film-making (not unlike the heightened Sirkness of Todd Haynes's Far From Heaven) that could hardly have existed in the original. Even as homage, Tian's movie seems to be among the finest expressions of the Chinese new wave." Jonathan Rosenbaum describes the Fei Mu Springtime as "widely considered the nation's greatest film by Mandarin speakers but tragically neglected by almost everyone else" and ends his capsule review of the new Springtime, "This erotically charged drama may not be quite as great as the original, but it's an amazing and beautiful work just the same." I no doubt need to add this to my 2004 "Wish I'd Seen" list. (Thanks to my colleagues on another film world website for bringing it to my attention in the House of Flying Daggers thread there).

Well, it's clear to me that Purple Butterfly isn't of this magnitude but it's notably different from the usual Chinese film fare in focusing on political conflicts in the 1930's -- which are handled in a somewhat conspiratorial and noirish way, with romance woven in. There are lots of long stares, Thirties dance songs, non-filter cigarettes pensively lighted with box matches, and events in Shanghai in the period of Japanese occupation leading up to the Sino-Japanese war involving political activist plots and counter-plots that are filmed to look rather like blurry, chaotic versions of Chicago gangster shootouts. There is a tragic star-crossed love story, and the climactic scene is rather neat. But the director, Lou Ye, isn't satisfied but has to add a disenchanted brutal sex/self doubt coda.

The director's previous film was Suzhou River, and this is just as pretty to look at -- pretty enough so you almost don't care that at first you don't know what's happening, except that couples are inarticulately in love and it's always raining. The Village Voice thumbnail review aptly commented, "part action flick, part love story, and part posh historical pageant...a fabulously morose piece of work." Purple Butterfly calls a bit too much attention to itself to fully evoke its Thirties setting, but it manages to seem original most of the way despite occasional debts to Wong Kar Wai notable in the long pauses, languid love scenes, and incessant rain. Not a great success, but watchable as a mood piece.

Metacritic score of Purple Butterfly: 66.

Metacritic score of Springtime in a Small Town: 86.

Slow pace and incoherent historical drama

[LARSONRD · 3/10 · 4 July 2005]

Lethargic direction ruins an otherwise compelling period story that stars the wondrous Zhang Ziyi, in an excellent role as a woman who joins an extremist group in 1928 China, just prior to the Japanese invasion of Manchuria, and reunites with a former lover who is now working for Japan. Every bit of drama and forward motion of the story is sucked dry by director Ye Lou's somnambulist directorial style. Characters stand still staring at each other for long minutes, saying nothing, hand-held cameras hold forever on faces showing interminable reactions way longer than they need to, edits repeat the same reaction is triple redundancy. We know nothing about the characters as the story begins and are given little new information as the story progresses, only silence and static shots of lovers who don't speak, who interaction through silent dances but share no apparent emotional intimacy. A very sleep inducing film.

Surprising, excellent

[whs5 · 9/10 · 4 December 2004]

"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.

A convoluted mess

[Thomas_Neville_Servo · 2/10 · 28 October 2004]

Ye Lou's film Purple Butterfly pits a secret organization (Purple Butterfly) against the Japanese forces in war torn Shanghai. Ding Hui (Zhang Ziyi) and her ex-lover Hidehiko Itami (Toru Nakamura) find themselves on opposite sides of the conflict after a chance meeting.

I agree with the reviewer from Paris. The film substitutes a convoluted, semi-historical conflict for a plot, without giving the audience a single reason to care about the characters or their causes. The sudden time shifting doesn't help matters as it appears completely unwarranted and pointless. Normally I don't mind dark movies, but the absence of light, the bone-jarringly shaky camera footage, and the generally bad film-making techniques really make this a tough film to watch and stay interested in. I also agree with the viewer from Georgia that this film "has a chaotic editing style and claustrophobic cinematography", but I don't think that helps the movie. The backdrop to the film is one of the most potent events of the 20th Century, and I don't believe you can do it any justice by editing it as if it were a Michael Bay film. The overly melodramatic moments don't add to its watchability.

The actors are all suitably melancholy. Zhang Ziyi once again shows that she has an exceptionally limited acting range as she spends the entire movie doing what she seems to do best in all her films, brooding and looking generally annoyed. However, at least she adds some variety to this role by chainsmoking and engaging in the worst love-making scene since Michael Biehn and Linda Hamilton in The Terminator.

All in all, a very disappointing film, especially seeing as how it comes from the director of Suzhou He. 2/10

'Difficult' but extremely rewarding

[MOscarbradley · 9/10 · 2 September 2018]

Sixth Generation Chinese director Ye Lou's visually stunning revolutionary romance "Purple Butterfly" is set in Japanese occupied Manchuria in the 1930's and for the first 45 minutes or so you may find it impossible to figure out who's who or what's going on, (I certainly did). Lou uses hand-held cameras to dizzying effect and shoots mostly in various shades of blue and with an awful lot of rain. What is clear is there is an underground organization, (the Purple Butterfly), dedicated to fighting the Japanese and that there's a traitor in their midst. Otherwise the plot is reasonably complex and the time structure not always clear while a case of mistaken identity does little to help. Nevertheless, trying to put the pieces together in some kind of logical order turns out to be hugely rewarding and, as I've said, it's visually magnificent with superb performances from the entire cast. Inevitably it will remind you of the cinema of Kar-Wai Wong but Ye Lou remains his own man and even if you need to see this a couple of times to 'get it' it will be time well spent.

Extremely disappointing

[lchou · 1/10 · 29 November 2004]

I was looking forward to seeing this movie after reading a positive review in the New York Times. In addition, I'm also Shanghainese so there was more than just a passing interest in the subject matter. However, after watching it, I was extremely disappointed.

The movie's pace was excruciatingly slow and monotonous. The director lingered on certain scenes for much too long. There was no passion or chemistry between the lovers. There was barely any dialogue. Dialogue was sorely needed to compensate for the lack of acting. At the end of the movie, you didn't feel any compassion for the characters. This movie was lacking in everything. The script was weak, the acting was poor, and the editing was non-existent. The director tried to emulate certain noir film styles but failed miserably. A good movie is one in which captures your attention, maintains it and is successful in concluding without you feeling time has passed by. This movie felt as though it would never end. Don't waste your money on this movie.

Interesting...worth seeing for the curios

[wjbookman · 8 December 2004]

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.

Ugly look

[jcwla · 3/10 · 17 January 2005]

Rex Reed once said of a movie ("Julia and Julia" to be specific) that it looked like it was shot through pomegranate juice. I was reminded of that as I snored through Purple Butterfly. This one appeared to be shot through gauze.

The story was boring and it was not helped that for large portions of scenes actors' faces were literally out of focus or would only come into focus after extended periods of time.

Also, everyone looked the same so it was hard to distinguish among the characters. I call this the "Dead Poets Society" syndrome.

There was nobody to care about, nobody to become interested in dramatically, and the movie shed no historical light on a very interesting period of time and set of circumstances.

A total disappointment.

confusing? try a 2nd view...

[fellfromthesun · 10/10 · 24 March 2006]

Many have commented on how confusing the film's plot is, and I agreed on first viewing. A second viewing, however, shows everything quite intricately and deftly and =coherently= composed. People are used to films telling them things with words, which a visual medium doesn't necessarily have to do. The images give you everything here, provided you're paying attention, which shouldn't be too much for a director to ask. The first 20 minutes play out almost like a silent movie, as Lou uses the most delicately suggestive fragments to introduce us to the star-crossed lovers Itami (Toru Nakamura) and Cynthia (Zhang Ziyi). Zhang, in my opinion, deserves every close-up she gets.

Confusing and slow.....

[jimdavis-1 · 3/10 · 17 January 2005]

I am a huge Ziyi Zhang fan and will go to any film to see her which is what took me to Purple Butterfly. As much as I wanted to like this movie, I have to agree with many others who have commented on it. It is very confusing and also extremely slow. Because all of the film appears to have been shot with a hand held camera, significant portions of it are out of focus.

The film has very little dialog and what there is doesn't tell you much. There are endless scenes of people just standing around smoking cigarettes or sitting in a room staring at each other with no conversation. The way the film time shifts is also very confusing and hard to follow. Even having read a number of reviews beforehand and having a general idea what the film was about, I still had a difficult time understanding what was going on.

I knew beforehand that the movie was not remotely similar to previous Ziyi Zhang starring films but was looking forward to seeing her in something different but unfortunately I was ultimately disappointed. She never smiles in this film although admittedly most of the time she doesn't have anything to smile about. I could have done without the sex scenes as they were about as sexless and without any obvious feeling between the participants as you could hope to find.

Excellent film, Zhang Ziyi's best work

[nanook-19 · 10/10 · 12 January 2005]

I'm not a big war film fan but I saw this film in spite of that fact primarily because of Zhang Ziyi's role in it. I'm split between this film and The Road Home as to which was her best role, but in both she made the character she played seem very real.

The pace of the film was a bit strange, there are painfully slow moments and then explosive terror and emotional intensity. The contrast made the intense moments stand out far more than films which are just continuous action and it allowed time to really get a sense of knowing the characters.

I wouldn't recommend this film to someone who is looking for an "action" type movie but for people who want serious drama set in a non-fictional historical setting which really focuses close-up on the human costs of war this film is excellent.

Avoid this movie

[pedroosan · 1/10 · 15 May 2005]

Claustrophobic camera angles that do not help the movie: Too long face only shots where you most of the time get the feeling that the lower half of the film is missing (that the screen is cut off), because there seems to be important actions going on, but you cannot see them. There is anyway already too much confusion in the movie, so these viewing angles make it worse and do not contribute to artful visuals.

I like artfully made movies and unconventional camera work. I can handle deep and slow movies. But this one is trying too hard to be something artful and fails in my opinion painfully.

Nothing to get attached to, to any of the characters, because they are not worked out well enough. To work out characters more is needed, than just minute long face shots, at least with this set of script+director+actors.

I wonder whether some of the not so good acting is due to the script and director or due to the actors.

I will stay away from films both written and directed by Le You for sure in the future.

What an annoying film even for someone who would be interested in that part of history, and for someone who spent time in Shanghai.

Purple Butterfly-a look at Neo-Realism today

[lisalaurine · 14 August 2006]

While the story might give one an eye sore and a headache having to keep up with the multiple characters in the storyline, there is an air of independent film-making that transcends the film's confusion. One should also note how excellent the camera-work is for those who enjoy the Italian Neo-realist films of the 1940's and 50's.

This film is perhaps one of the most interesting of films on Chinese history told from the perspective of the Chinese themselves. The background, actors, crowded train stations and gunfights, would seem difficult to recreate in an independent film. However, the director succeeds in creating 1930's Japanese occupied Shanghai and how war affects those who are involved, both politically & non-politically. For anyone who hasn't seen a film from China other than the heavily laden Kung Fu movies made here in the U.S., Purple Butterfly is both a refresher and an excellent look at Neo-Realism in Chinese Cinema today.

Couldn't keep my mind wandering away

[vostf · 1/10 · 14 June 2003]

Did anybody succeed in getting in this movie?

It's a total mess to me: a vague historical/sentimental context instead of a plot, a pretentious imagery as mise en scene and it lasts two hours!

Shame on those who wasted money here.

Purple Butterfly has a chaotic editing style and claustrophobic cinematography.

[LizAMiller · 8/10 · 27 July 2003]

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.

Wake me when it's over...

[resvon · 3/10 · 21 January 2006]

I read comments about this being the best Chinese movie ever. Perhaps if the only Chinese movies you've seen contained no dialogue, long drawn-out far-away stares and silences, and hack editing, then you're spot on.

Complicated story-line? Hardly. Try juvenile and amateurish. Exquisite moods and haunting memories? Hardly. Try flat-out boring and trite.

This was awful. I could not wait for it to be over. Particularly when the best lines in the movie consist of "How are you? I'm fine. Are you sure? Yes." Wow! What depth of character. I guess the incessant cigarette smoking was supposed to speak for them.

As a huge fan of many Chinese, Japanese and Korean films, I was totally disappointed in this. Even Zhang's sentimentally sappy "The Road Home" was better than this.

A masterful piece of film-making, better than any of the Academy award nominees

[mpower1112 · 10/10 · 16 March 2006]

I couldn't disagree with your previous reviewer more. Purple Butterfly is a piece of majestic film-making, the first thriller I can remember since the days of Orson Welles with emotional depth and a real sense of history. The direction and cinematography are superb. Look at the railroad station sequence and the camera movement in what seems like the longest take since Antonioni's The Passenger. It is a virtuoso moment in the film. Admittedly Western audience will find the long silences and long contemplations of the actor's faces unusual, if not unsettling, but they contribute mightily to the mood and enable the actors to communicate without words. Also, it's not easy for a Westerner to distinguish between Chinese actors (sorry, but to this Westerner they did tend to look somewhat alike). Adding to the confusion is the mixture of flashbacks and forward-backs a la Tarantino. But all this just made me want to see the film a second time now that I have an inkling of what it is about. I intend to do exactly that tonight and then I'll try to find the DVD. ( I have only seen this film on cable). Also, be warned it is a very sad film. But thank God it doesn't have the usual tacked on American style optimistic ending. ( See True Romance, speaking of Tarantino.)

A stylish spy romance

[harry_tk_yung · 29 March 2005]

Following the well trodden path of the traditional spy romance, Purple Butterfly is shot in a languid melancholic mood and hue that is characteristic of director Lou Ye, but without the enigmatic air of Suzhou River.

The plot is quite simple, but with a good deal of attention paid to details, and some normal use of flashbacks. The pace is slow, a refreshing change from the formulaic Hollywood slam-bang storytelling that has managed to kill the taste buds of a vast portion of moviegoers for finer things in movie-making.

Zhang Ziyi, who has been such a disappointment looking like a wooden puppet in House of Flying Dagger in the hands of degenerated Zhang Yimou, looks much better here under the direction of Lau Ye. This all goes to show what a huge difference it can make to an actor between having a good director and a bad director. Set against the backdrop of the prelude to the Japanese invasion, in Manchuria in 1929, Zhang plays a girl Cynthia that falls in love with a Japanese classmate Itami who has to return home. A few years later in Shanghai, Cynthia has become a member of an underground organization, in a collision course with Itami who is coming back to China in the opposite camp. This familiar dramatic situation, plus Cynthia's affair with the organization's leader, provides Zhang with ample opportunities for acting a range of varied emotions, which she handles quite well.

Situ (Liu Ye) and Tang Yiling (Li Bingbing) are innocent sweethearts drawn into this deadly game through a case of mistaken identity, ending in Tang getting killed in a shootout at the train station where she is going to meet Situ. Liu, one of the finest actors today in China (Mountain Postman, Lan Yu, Little Chinese Seamstress, Floating Landscape), handles this role of a totally devastated lover with ease, but also depth. Li Bingbing, seen most recently in A World Without Thieves, manages to leave a most lovely impression with her barely fifteen minutes' appearance in the movie. Toru Nakamura playing Itami, cool and confident, is perfect for the role.

The movie is thoroughly enjoyable in its entirety of a little over two hours. The ending is particularly clever, a somewhat abrupt but very effective flashback which dilutes the impact of the emotional "real" ending and, by one simple image of Tang on the streetcar to the train station, identifies the exact time frame as well as brings the whole thing full circle to the start of the series of events that lead to the ultimate tragedy.

The scene that I remember most, however, is not with the principal actors, but with the pair of innocent young lovers, before their short parting. Not a single word is exchanges. Tang puts a record of a period song in the archaic gramophone (the kind that needs winding up) and the two start dancing, not cheek-to-cheek, but sort of a slow, teasing rock. A little bitter-sweet, unabashedly romantic, this is the best scene in the movie.

Those who complain in their comments that this movie is difficult to follow or understand will do well to try to read a couple of Dr. Seuss books in stead of going to a movie. I am talking from personal experience here as both my sons, before they entered grade school, derived a great deal of pleasure from, and fully understood, The Cat in the Hat. Surely, these individuals I referred to should not encounter significant difficulties in similar pursuits.

Modern spin on a Chinese tragedy

[childsey01 · 8/10 · 14 November 2016]

*Spoilers* I've seen a few reviews carrying the opinion that Cynthia wasn't in love with Itami but Xie Ming based on the final love seen, but it doesn't quite seem to fit. They talk about it being a year since they had a fling and it is expressed as being a physical thing. He sure doesn't cut it as a lover and for her sex is more a celebration of being alive in the midst of tragedy. There is however a moment of emotional intimacy but not such that I can conclusively tell if it expresses feelings of the moment or if there's anything more. The film hints at more emotional interaction existing with Szeto. Cynthia seems to be torn between her feelings for Itami, the ideology of the group, and her distaste for violence used by it (shooting of Szeto early on). Her desire to use him seems a thin veil for her compassionate side. I think she is trying to hold her cards and has feelings all round (Itami re: memories of an age of innocence in childhood, Xie Ming re: her ideological side, maybe even Szeto for having both shared the loss of a loved one) In the end any love she has for Itami seems to be made void as after he discloses that Japan has successfully invaded, her going with him to Tokyo could no longer be made as an act of love but as an act of self preservation. She also sees the same coldness in Itami that has distanced her from Xie Ming. Enter Szeto and we have the traditional Chinese love tragedy wrapped up. I feel the film didn't say much but left a lot open to interpretation and speculation. It can leave a viewer with any number of impressions based on how they see and identify with the feelings portrayed. Some may see it as complex, others straightforward, but all can take away something from it. My preference would be to have a more complete picture by filling in the back story rather than just centring around Cynthia and Itami, but it did tell a good story in a natural way.

A Chinese Take On The Old-Fashioned War Time Spy Romance

[noralee · 3 December 2004]

"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.

Killing of an old love

[dbainy-534-263253 · 20 November 2012]

The movie is set in 1930s China where the Japanese occupied China. It is a complex love story disguised as a spy thriller. I suspect the whole staging of the era and its circumstances is simply to illustrate an idea. "The idea that a new lover demands one to "kill" her old lover."

What more convenient way to illustrate this than actually killing someone. But the act is merely symbolic. If the movie was set in modern times without the apparatus of physical murder, then it would take a long long time to illustrate the killing/erasing of an old love.

In the movie, the main character played by Zhang Ziyi, realizes only after she has killed her old lover, she had made a grave mistake and she regrets. Only then, she realizes she loves him the most.

Another interesting idea it illustrated is that -the mind and body does mysterious things. The main character betrays her true love by a cause she does not really believe. She follows the orders of a man who she doesn't really love.

Strangers we are even to ourselves.