Reviews & Ratings for
Raise the Red Lantern More at IMDbPro »Da hong deng long gao gao gua (original title)

Filter:

Best Chronological Prolific Authors Loved It Hated It Hide Spoilers:

Page 1 of 9:

[1] [2] [3] [4] [5] [6] [7] [8] [9]

Index

88 reviews in total

---

63 out of 70 people found the following review useful:
Brutal politics in a marriage of concubines, 12 February 2001

Author: Dennis Littrell (dalittrell@yahoo.com) from SoCal

*** This review may contain spoilers ***

(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon.)

Raise the Red Lantern is one of the most extraordinarily beautiful movies I have ever seen. The sets are exquisite tableaux carefully arranged, decorated and framed, and then shot from an attractive angle. The scene as they drag the third mistress, kicking and screaming to the tower of death, with the snow falling so peacefully onto the rooftops was chilling in its effect. The startling blaze of color, light and detail within the houses set against the drab simplicity of the courtyards, continually provided a contrast between life within the protection and at the favor of the master, and life without. This dichotomy is symbolized in the vibrant red lamps and the somber blue hue of the lamps when they are covered. In this manner, the mistresses are controlled. I was also struck by the sonorous beauty of the accompanying Chinese music.

But more compelling than the beauty of the film is the story Director Zhang Yimou tells, a tale of paternity and imperious privilege set in early twentieth century China. He begins with the newly arrived fourth mistress, 19-year-old Songlian, a university student who, because of the death of her father, is forced to quit school. She chooses to marry a man of wealth. She is warned by her stepmother that she will be a concubine. She replies, isn't that our fate? Her cynicism and then her robust energy in seeking her ascendancy over the other sisters engages us and we identify with her struggle.

What is extraordinary about Zhang's direction is how easily and naturally the personalities of the characters are revealed. The first mistress ("big sister") is too old to be of any sexual interest to the master, yet she is the mother of the eldest son. The second mistress, who has given the master only a daughter, still dreams of having a son. Her devious schemes and plots are hidden by smiles and fake good will toward her sisters. The third mistress, an opera singer still vibrant and beautiful (in a fascinating performance by the intriguing Caifei He), uses her allure in vying for the master's attention. Songlian, in spite of herself, finds herself caught up in the competition with the others.

Gong Li, who plays Songlian, is very beautiful with a strength of character that one quite naturally admires. She has the gift, as does, for example, Julia Roberts, of being able to express a wide range of emotion with just a glance of her very expressive face.

Serving as a foil to the mistresses, and perhaps as the most poignant victim of the concubine system, is the servant girl Yan'er, played with a compelling veracity by Kong Lin. She is occasionally (how shall I say this for Amazon?) "touched," to use Songlian's term, by the master, and so she dreamed of being the fourth mistress. But when the fourth mistress arrives, her dreams are shattered, and in her jealousy she hates Songlian and plots against her. One of the most memorable scenes in the movie is when Songlian, thinking Yan'er has stolen her flute, forces open the servant girl's room and finds it flooded with.... Well, you should see.

Note well that the master is only hazily observed. He is a personage, a man of wealth. That is enough to know about him. He is as interchangeable as the harem masters on a beach of elephant seals. But because he has wealth, he can engage concubines who must compete with one another through him to find their station in life. One gets a sense of what it might be like in the harem system practiced by gorillas and the sheiks and warlords of old. One pleases the master not because one loves the master (although one does of course because humans tend to love their masters) but because in pleasing the master one rises above the others. Thus the triumphant call, "Light the lanterns in the third house!"

Most people no doubt lament the life of the mistresses. Yet women in poor places may wish such a life upon themselves. But concubines are just prostitutes, really, one might say, trapped by a system of male privilege. But I would remind those who see only that, that for every wife the "master" has, that is one wife another man will not have. The system does NOT favor males. It favors wealth and privilege. In such a system there are many men without wives, fomenting unrest, which is why modern states forbid polygamy.

What does a man do with the capital he accumulates or inherits? If the system allows, he spends it on women and the assurance of his paternity. And why is that possible? Because many women--Songlian is our example--would rather be the fourth wife of a rich man than the first and only wife of a poor man. Many women would rather be used by a man of wealth than rule the household of a nerd. This is the way humans are, and any sexist interpretation of this movie misses this truth.

The real horror depicted here, though, is in the brutality used to maintain the system, not in the polygamy itself. The women who follow the rules and beget the master's children, especially if they are sons, enjoy a pampered and secure existence Those who do not are dealt with severely, branded as mad, or even murdered. Note the similar experience of the wives of Henry VIII, for example, within the English system of serial monogamy.

This is a great movie, like a timeless novel fully realized, directed by a visual genius, from a script of great psychological power. Don't miss this one. It's one of the best ever made.

---

65 out of 79 people found the following review useful:
Exquisite haunting whispers of China, 29 November 2004

Author: Deidra (verse@earthlink.net) from Chicago, USA

In response to the comments that this film is boring, shallow or without a character to identify with: Please study some Chinese history before you make such judgments. The story we see is a visual treat but overlays a much deeper story of China in myriad aspects. Perhaps you are unaware that films and books of the period had to tread lightly on topics that were not merely taboo but could result in danger for all connected. Thus, a slight symbolic representation often took place. Sort of poetic shorthand. Not unlike Chinese art that may seem to be about the season of autumn but is actually about death or change or loss. Nevertheless, any film must stand on its own regardless of the background. This film includes acting scenes that are incredibly forceful and still so gentle. The photography, costumes, sound and music blend into a cinematic work of art. I found the character completely believable, a woman bound in a tradition from which she found no escape except death or madness. And for those who sneer at the opera singer, imagine how the music you enjoy would sound to someone who has a completely different background. Please accept cultural diversity and let your mind and heart be enlarged!

---

51 out of 64 people found the following review useful:
A Masterpiece beyond the definition, 27 December 2003
Author: urlamajor (urlamajor@aol.com) from N.C.

Every frame of this film explodes with excellent acting, cinematography, music and art direction. I never thought I would see something so beautiful in a foreign film since Ingmar Bergman's work. This is by no means, an art film this is a human film, while holding an ethnic background these people portrayed in the film are all of us and is probably what we would call a fable on the cruelty of humanity. I'am disgusted to discover this film isn't on video or DVD in america. It seems as if its popularity has run thin since the 90's but this is a masterpiece people!

---

43 out of 53 people found the following review useful:
Engrossing from the first moments, 3 March 2004

Author: jonr-3 from Kansas City, Missouri, USA

My interest was maintained throughout every minute of this rather long film. I don't remember when I've seen another film in which every single role was played to perfection. (Incidentally, this wonderfully believable acting seems to occur in at least some, if not most, of the roles in every Chinese movie I see, from the mainland or otherwise.)

The story is one of classical simplicity, in in large part presented with the same classical, clear quality. The interplay of passion, jealousy, and revenge is reminiscent of Shakespeare, but, for me, more entertaining--if it's proper to speak of such ultimately somber and even horrifying subject matter as entertainment.

I unhesitatingly gave a vote of ten, and noticed that a full 33% of voters so far had done the same--very unusual.

When Roger Ebert called "Raise the Red Lantern" "breathtakingly beautiful," he wasn't exaggerating. But beyond its beauty, its moral seriousness, the fact that not for a moment is it "dumbed down" in the regrettable Hollywood fashion, its superb acting, and its almost unbelievably perfect pacing, make it a rare, rare experience.

"Red Sorghum," the only other Zhang Yimou film I've seen so far, I found somewhat propagandistic but gripping and visually stunning (even more so than "Raise the Red Lantern.") I will be making an effort to see more of this director's fairly extensive body of work.

It's a shame major theater chains don't schedule movies of this caliber instead of the torrent of commercialized Hollywood trash they foist on the public, which, alas, seems only too eager to wallow in more and more of it.

---

35 out of 38 people found the following review useful:
A Lyrical Beauty, 26 December 2000

Author: gbheron from Washington, DC

"Raise the Red Lantern" is set at a Chinese baronial estate, the time, the 1920s. But, as the family-servant dynamics are placed on display, the viewer begins to feel it could be a thousand years earlier. The story is shown through the eyes of a young college-dropout played by Gong Li. Family misfortune has forced her into concubinage as the "fourth mistress" of the Chinese lord. A headstrong woman, her relationship with the lord's household, especially the other three mistresses, form the basis of the story. But it's telling is as important as the story itself. This is a beautiful, well-acted, well-directed movie. Slow-paced, it ingratiates itself with you, drawing you in deeper and deeper. I can't think of anything that warrants improvement. A masterpiece.

---

37 out of 44 people found the following review useful:
Shocking, thought-provoking and very well-made., 9 November 2001

Author: Glowstick Chick (glowstickchick@startrekmail.com) from Bay Area, CA

I can certainly understand why this film is so critically acclaimed. Raise The Red Lantern is one of the only Chinese movies I've seen, but I'll definitely admit that it's unusual to see a film this stylistically masterful come out of Hollywood (although it can happen -- The Thin Red Line, for example). A lot of what makes this film work is Zhang Yimou's outstanding directorial style; his use of color against bleak background is especially effective. It's his hypnotic visuals that keep you interested throughout the slow progression of the story. And the amazing acting by most of the performers doesn't hurt, either; everything feels completely real.

I think of this as one of those movies that you aren't supposed to enjoy; it shocks you, and leaves you just as disturbed as, considering the subject matter, you should be. The miserable story of Yan'er, the servant girl, is especially painful to watch, and the same goes for the unfolding of the last few scenes. But I think the fact that I was so unsettled by this movie probably just goes to show how well it gets its points across. And along with the remarkable acting and directing, that's definitely something to be respected.

---

33 out of 40 people found the following review useful:
Masterpiece, 16 August 2004

Author: joe_ng29 from toronto

I don't care what anyone says, this film belongs in the top 10 films of the 90s worldwide...the story, the implicit attacks on the Communist regime, cinematography, direction, and acting (Gong Li was superb) coelesced into one extraordinary piece of cinema magic that transcends both cultural and language differences. The film was so refreshing and exciting for me, yet it was also quite a dark film. Not a lot of "conventional action", instead, the intensity of the film comes from the actor's and their emotions. A very powerful film, and disturbing one at that. Job well done...Zhang Yimou was brilliant with this one. If you're a lover of great cinema, then this is a must. I'm already hounding at Criterion to take on this film.

---

25 out of 25 people found the following review useful:
Beyond words, 7 November 2000

Author: jeff_stryker from Hampshire, England

This movie has it all, betrayal, conflict and tragedy. I have to say that I couldn't live without it, effectively anyway. The political criticisms tear at the spine of the film and the beauty of it in such an intimate setting is outstanding. The use of such a rich, three dimensional setting defies what we have been taught by the mainstream as being beautiful and sets a standard on a budget that I would love to be aware of, that all Hollywood movies should aspire to. It shows us that film, real film that is, does not need $100 million to look good, rather the combination of a haunting setting in the middle of vastness and the equally haunting beauty of it's star, Gong Li, but at it's heart the house itself resembles a claustrophobic pot, boiling over the surface.

This is in my opinion, Zhang Yimou's greatest film, it is a triumph in film form and narrative. The haunting sounds of flutes, a significant visual and audio element that has a mythical quality due to it's importance to Songlian and becomes an unattainable item of the gods when it is removed from existence when it is burned, becoming a tragic reminder on the attempts to vanquish the personalities of not only Songlian but all of the concubines. It's slow burning nature may repel the masses but anyone who can get a copy, do so without fail, you will never regret it. I cannot stress the importance of this film, we may see it as a study on the oppression of women in China, but this is universal, we westerners once did the same thing not too long ago.

For me the cinematography is what sells the film, it is the best I have ever seen and ever will. If there is ever a film to promote the use of the three strip technicolour process once again, this is it. Long after you have finished your post film analysis, the light from the red lanterns will still be searing in your eyes.

---

22 out of 29 people found the following review useful:
Amazing film of domestic tragedy in 1920s China, 2 February 1999
Author: pooch-8 from Fargo, North Dakota

Zhang Yimou solidifies his standing as one of cinema's most brilliant craftsmen with Raise the Red Lantern, a heartbreaking and fascinating look into the life of a young, well-educated woman who gives up her future to become the fourth wife of a wealthy landowner in 1920s China. Gong Li, the director's longtime muse, delivers a performance nearly unsurpassed by anyone, male or female, in the 1990s (and many other decades, as well). Her opening close-up is an indelible image of sorrow and resignation capable of drawing tears out of a statue. Zhang Yimou makes films as exquisitely composed as any master's painting, and his palette extends beyond the obvious beauty of Gong Li to include the details of the courtyards, lanterns, silks, and rooftops with an inexplicable mixture of tranquility and austerity.

---

20 out of 26 people found the following review useful:
Gong Li, 7 March 2002

Author: marisol (patita@mmail.com.py) from Paraguay Southamerica

Songlian(Gong li) is the fourth wife of the elusive Master.When she arrives in this secluded remote place the other wives pay attention,the film shows the female vanity and a competition to gain the master affection but why? This women seems not to be in love of this man but I was most intrigued by the presence and personality of the young Songlian,she seems not to belong there,we know she is an educated lady who was sold as concubine. Songlian looks very delicate but she proves that she can be strong and even rebel.

The great chinase Director Zhang Yimou did a wonderful job to focused on the beautiful,flawless face of the impressive Gong Li.The film begins when we see her face on the screen and a tear drops slowly.Other poignant scene is when her flute disappears…why she makes too much noise about it?is the only gift she had from her late father.

When the winter arrives and the snow envelops this place it seem more remote and eerie Then a series of tragedies occur and the heroine starts to fade slowly. I think that the ending is so sad but at the same time is like a fairy tale To me.Songlian looks like a ghost walking around,alone without a soul .She represents a tragic past that will always haunt this place.

I'm a big admirer of the actress Gong Li,all her films impressive me in different levels: `Jou Du'; The Story of Qiu Ju; Farewell to my Concubine. Her face and reactions is her treasure, Gong Li is the most beautiful actress I had ever seen, unique,talented and vulnerable. 9/10

---

---

Page 1 of 9:

[1] [2] [3] [4] [5] [6] [7] [8] [9]

Add another review

---

Related Links

Plot summary	Plot synopsis	Amazon.com summary
Ratings	Awards	Newsgroup reviews
External reviews	Parents Guide	Plot keywords
Main details	Your user reviews	Your vote history