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Editorial Reviews
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Set during the Chinese takeover of Hong Kong in 1997, this fascinating film uses that urgent and grandly ceremonial political backdrop for an intimate study of personal transition. Jeremy Irons plays a seasoned journalist who discovers he is terminally ill, causing him to be torn between his obsessive love for a former prostitute (Chinese film star Li Gong) and a streetwise hustler (Maggie Cheung) whom he has chosen as the subject of a video documentary. Through his involvement in the lives of these two very different women, director Wayne Wang (The Joy Luck Club) creates a cinematic "love-hate letter" to his native Hong Kong, where each character is allegorical and suffers an identity crisis much like Hong Kong itself. The film's love story is somewhat aimless and ultimately unimportant, but Chinese Box (even the title suggests a place that holds secrets within its borders) remains a fascinating film in the semi-documentary tradition, capturing the psychology of its time and place with compelling immediacy. Musician/actor/politician Ruben Blades is featured in a memorable supporting role. --Jeff Shannon
From The New Yorker
Wayne Wang's elegant, sorrowful valentine to his native city of Hong Kong stars Jeremy Irons as John, a British expatriate journalist, and Gong Li as Vivian, the gravely beautiful, elusive woman he loves. The movie opens on New Year's Eve, 1996, six months before the Crown Colony is to revert to Chinese control: wealthy residents gather in banquet halls to toast the making of future deals, while in the poorer parts of the city women with worn-out faces operate produce stands. After John is diagnosed with a fatal illness, he quits his job and, with a photojournalist friend (Ruben Blades), wanders the underside of Hong Kong-the brothels, the betting parlors, and the markets where animals are slaughtered-with his video camera in search of authentic images. The film is extraordinary to look at for its ingenious mixture of visual styles, and it will speak to anyone who has ever tried to take possession of a place or a person in the hope of taking possession of himself. In English and Cantonese. -Daphne Merkin
Copyright © 2006 The New Yorker
Set during the Chinese takeover of Hong Kong in 1997, this fascinating film uses that urgent and grandly ceremonial political backdrop for an intimate study of personal transition. Jeremy Irons plays a seasoned journalist who discovers he is terminally ill, causing him to be torn between his obsessive love for a former prostitute (Chinese film star Li Gong) and a streetwise hustler (Maggie Cheung) whom he has chosen as the subject of a video documentary. Through his involvement in the lives of these two very different women, director Wayne Wang (The Joy Luck Club) creates a cinematic "love-hate letter" to his native Hong Kong, where each character is allegorical and suffers an identity crisis much like Hong Kong itself. The film's love story is somewhat aimless and ultimately unimportant, but Chinese Box (even the title suggests a place that holds secrets within its borders) remains a fascinating film in the semi-documentary tradition, capturing the psychology of its time and place with compelling immediacy. Musician/actor/politician Ruben Blades is featured in a memorable supporting role. --Jeff Shannon
From The New Yorker
Wayne Wang's elegant, sorrowful valentine to his native city of Hong Kong stars Jeremy Irons as John, a British expatriate journalist, and Gong Li as Vivian, the gravely beautiful, elusive woman he loves. The movie opens on New Year's Eve, 1996, six months before the Crown Colony is to revert to Chinese control: wealthy residents gather in banquet halls to toast the making of future deals, while in the poorer parts of the city women with worn-out faces operate produce stands. After John is diagnosed with a fatal illness, he quits his job and, with a photojournalist friend (Ruben Blades), wanders the underside of Hong Kong-the brothels, the betting parlors, and the markets where animals are slaughtered-with his video camera in search of authentic images. The film is extraordinary to look at for its ingenious mixture of visual styles, and it will speak to anyone who has ever tried to take possession of a place or a person in the hope of taking possession of himself. In English and Cantonese. -Daphne Merkin
Copyright © 2006 The New Yorker
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