After more than four hundred years of war between the Shinobi warriors of the Manjidani Koga and Tsubagakure Iga clans, the Lord Hattori Hanzou decrees that they must live in peace. Both ... See full summary »
China is plunged into strife as feuding warlords try to expand their power by warring over neighboring lands. Fuelled by his success on the battlefield, young and arrogant Hao Jie sneers at... See full summary »
Martial arts legend Jackie Chan stars as Jack, a world-renowned archaeologist who has begun having mysterious dreams of a past life as a warrior in ancient China. When a fellow scientist ... See full summary »
Tony Leung Ka Fai
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
The Weinstein Co. has handed back distribution rights for all major English speaking countries to its producers, China Film Group Corp. and Moonstone Entertainment. Reportedly, the producers of the film, including director Kaige Chen, demanded a wider released in the US and the Weinstein Co. was only willing to give it a limited exposure. Warner Independent then picked up the rights and as a result the film's title was changed back from "Master of the Crimson Armor" to "The Promise", the English title used in most countries. See more »
As Kunlun enters Qingcheng's birdcage, the wire to lower him is visible. See more »
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.
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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
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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