| Ziyi Zhang | ... | Cynthia / Ding Hui (as Zhang Ziyi) | |
| Ye Liu | ... | Situ (Szeto) | |
| Yuanzheng Feng | ... | Xie Ming | |
| Tôru Nakamura | ... | Hidehiko Itami | |
| Bingbing Li | ... | Tang Yiling | |
| Kin Ei | ... | Yamamoto | |
| rest of cast listed alphabetically: | |||
| Sciichiro Hashimoto | |||
Directed by | |||
| Ye Lou | |||
Writing credits(in alphabetical order) | ||
| Ye Lou | writer | |
Produced by | |||
| Alain de la Mata | .... | executive producer | |
| Ye Lou | .... | producer | |
| Vincent Maraval | .... | executive producer | |
| An Nai | .... | co-executive producer | |
| Jean-Louis Piel | .... | executive producer | |
| Wang Wei | .... | producer | |
| Zheng Zhong | .... | co-executive producer | |
| Yongde Zhu | .... | producer | |
| Wu Zhuo | .... | co-executive producer | |
Original Music by | |||
| Jörg Lemberg | |||
Cinematography by | |||
| Yu Wang | |||
Film Editing by | |||
| Xiaohong Che | |||
| Ye Lou | |||
Production Design by | |||
| Weixin Liu | |||
Art Direction by | |||
| James David Goldmark | |||
Costume Design by | |||
| Weixin Liu | |||
Production Management | |||
| Yongling Wu | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Bing Ren | .... | assistant director | |
| Lele Xu Le | .... | second assistant director | |
| Yanjia Zhang | .... | assistant director | |
Sound Department | |||
| Jiajin Lu | .... | sound | |
Other crew | |||
| Nairong Ge | .... | action director | |
| Shaoming Lu | .... | action director | |
| Min Zhou | .... | action director | |
| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb China section |
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.