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The Promise (2005)
"Wu ji" (original title)

5.6
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Ratings: 5.6/10 from 7,816 users   Metascore: 53/100
Reviews: 132 user | 92 critic | 26 from Metacritic.com

Empowered by the love of a slave (Jang), a royal concubine (Cheung) is given the chance to make an extraordinary decision.

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Title: The Promise (2005)

The Promise (2005) on IMDb 5.6/10

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Nominated for 1 Golden Globe. Another 1 win & 6 nominations. See more awards »

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Cast

Credited cast:
...
Kunlun
...
General Guangming
Cecilia Cheung ...
Princess Qingcheng
...
Wuhuan
...
Snow Wolf
Hong Chen ...
Goddess Manshen
Qian Cheng ...
The Emperor
Xiao Wei Yu ...
Ye Li
Rest of cast listed alphabetically:
Chun-Xiao ...
Princess Qingcheng (voice)
Xiaotong Guan ...
Young Qingcheng
Shi Lei ...
Young Wuhuan
...
Wuhan (voice)
...
(voice) (as Anthony Wong)
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Storyline

When the world was young, laid a Kingdom between the Land of Snow and the Barbarian Territory where gods and men lived side by side and promises were lies. When the poor and starving orphaned girl Qingcheng meets the Goddess Manshen, she accepts to become the wealthy beauty of beauties with the curse that she would lose every man she loves, unless three things happen: snow falls in the spring, time moves backwards and the dead comes back to life. Years later, the slave Kunlun helps the Great General Master of the Crimson Armor Guangming to defeat a barbarian army with almost seven times more warriors, and Kunlun becomes his slave. When Guangming is wounded, he asks Kunlun to wear his armor and save the king from the cruel Duke of the North Wuhuan that put the Imperial City under siege with his army. However, Kunlun kills the king to save Princess Qingcheng and promises her to never let her die. Princess Qingcheng falls in love for the man of the crimson armor that she believes is ... Written by Claudio Carvalho, Rio de Janeiro, Brazil

Plot Summary | Add Synopsis

Plot Keywords:

slave | princess | general | armor | king | See All (50) »

Genres:

Action | Drama | Fantasy

Motion Picture Rating (MPAA)

Rated PG-13 for stylized violence and martial arts action, and some sexual content | See all certifications »
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Details

Official Sites:

| |  »

Country:

| |

Language:

Release Date:

15 December 2005 (China)  »

Also Known As:

Master of the Crimson Armor  »

Box Office

Budget:

HKD 60,000,000 (estimated)

Opening Weekend:

$272,838 (USA) (5 May 2006)

Gross:

$668,171 (USA) (9 June 2006)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (cut)

Sound Mix:

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Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

This is the most expensive film in Chinese history with a budget of 282,572,490 Yuan ($35 Million). See more »

Goofs

As Kunlun enters Qingcheng's birdcage, the wire to lower him is visible. See more »

Quotes

Goddess Manshen: Once you have accepted your destiny, nothing can alter it unless time flows backwards, snow falls in the spring, and the dead come back to life.
See more »

Connections

Featured in The 63rd Annual Golden Globe Awards (2006) See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
in the midst of carnage on a battlefield, a desperately hungry girl makes a Faustian bargain with a Chinese goddess and lives lavishly thereafter to regret it
5 January 2006 | by (Canada) – See all my reviews

I think that this is a very good film, in spite of what many people on this board have said. It is, however, a very different kind of film altogether; it is almost a pure transposition of folk tale to film, with all of the magic and illogic and quirky plotting that such tales involve. Films that attempt to transpose/translate comic books to film do so best when they manage to get the 'tone' of the comic onto the screen and recreate as much as possible the graphic and narrative style of the comic. _The Promise_ does this effectively for folk-tale/myth.

I should probably add that I also like _Operetta Tanuki Goten_, by Suzuki Seijun, which is also working the same territory, albeit in a very different way. Chen's film also references highly formalistic genres like Beijing Opera, hence the acting styles are sometimes very far from the boring "realism" of most contemporary film. Viewers who complain of a lack of realism or believable emotion in films like these should try to climb Rapunzel's hair, and stick to "classic" fare like _Red Sorghum_ and _Farewell My Concubine_, which, brilliant though they are, work in the very familiar idiom of 'Art Film', and provide no difficulty for the kind of viewer who used to say, "I don't watch TV, but I really like _Masterpiece Theatre_".

Yimou and Kaige, with their latest films, are pushing Chinese film, and therefore international film, in new directions altogether, and part of that push is clearly an attempt to escape the heavy yoke of the 'European Art Film' tradition, the 'quirky-Indie-imitation-thereof' tradition, and the narrow confines of the various 'martial arts film' traditions as well. I say, good on them, and shame to those who won't celebrate creative development because it betrays their deeply conservative and traditionalist expectations. As to the suggestion that their recent work betrays a kind of "Hollywood-ification", all I can say is, "huh?"


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