Flowers of Shanghai (1998)

In the "flower houses" (upscale brothels) of Shanghai, various interweaving stories of love, loyalty, and deceit play out subtly.

Director:

Hsiao-Hsien Hou

Writers:

Eileen Chang (translation), T'ien-wen Chu

Stars:

Tony Chiu-Wai Leung, Michiko Hada, Michelle Reis

6 wins & 6 nominations.

Cast

Credited cast:
Tony Chiu-Wai Leung	...	Wang Lingsheng (as Tony Chiu Wai Leung)
Michiko Hada	...	Crimson
Michelle Reis	...	Emerald (as Michelle Monique Reis)
Carina Lau	...	Pearl (as Carina Lau Ka-ling)
Jack Kao	...	Luo
Rebecca Pan	...	Huang (as Rebecca Pan Wan-ching)
Vicky Wei	...	Jasmin (as Hsiao-hui Wei)
Hsuan Fang	...	Jade
Annie Shizuka Inoh	...	Golden Flower
Ming Hsu	...	Tao
Rest of cast listed alphabetically:
Josephine A. Blankstein	...	(as An-an Hsu)
Pauline Chan	...	(voice)
Simon Chang	...	Zhu Suren
Tony Chang	...	Peking Opera Actor (as Tony Chang Ruei-che)
Shui Chit Cheung

Storyline

In Shanghai in the 1880s there are four elegant brothels (flower houses): each has an auntie (called madam), a courtesan in her prime, older servants, and maturing girls in training. The men gather around tables of food, playing drinking games. An opium pipe is at hand. The women live within dark-paneled walls. The atmosphere is stifling, as if Chekhov was in China. The melancholy Wang is Crimson's patron; will he leave her for the younger Jasmin? Emerald schemes to buy her freedom, aided by patron Luo. Pearl, an aging flower, schools the willful Jade, who thinks she has a marriage agreement with young master Zhu. Is she dreaming? Women fade, or connive, or despair.

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Plot Keywords:

rivalry | prostitution | male female relationship | clothing | based on novel | 

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Genres:

Drama

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Certificate:

Unrated

Did You Know?

Trivia

The film consists of 38 long shots.

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Connections

Featured in I Wish I Knew (2010)

User Reviews

Hou's Rules of the Game

Hou Hsiao-Hsien's "Flowers of Shanghai" is an opium dream of a movie: visually and aurally there is no mistaking that this is the work of an artist with the imagination of a poet, and the precision of a clockmaker. The opening shot is among the most exquisite in all of cinema: a veritable tour de force that exudes Hou's love for the film medium, but is decidedly restrained and controlled, never allowing style to upstage the narrative and degenerate into mere spectacle. In keeping with the film's setting and rules of patriarchy, the major male characters are introduced first. The women serving these men are then introduced in the following "chapters", each one preceded by title cards announcing their names and place of residence as if gently mocking or subverting the patriarchical order.

This chamberpiece drama of sexual intrigue and power struggle is astonishingly acute in capturing the feel and sensibilities of the late 19th century but expressed in very contemporary terms without any apparent compromises or contradictions. The painterly colors of "Flowers" may invite comparison with Dutch masters like Vermeer even when Hou is deliberately conjuring an idealized world that is as hermetic as it is artificial: a world composed entirely without natural light is like a dream, hauntingly beautiful and intense but impossible to hold or to keep. That the film is shot entirely indoors and the mise-en-scene is orchestrated without any close-ups is a testament of Hou's faith and supreme confidence in creating a work that remains completely cinematic while averting the pitfalls of feeling stage bound. Despite the subject matter what is also startling is the complete absence of physical sex on screen; and, yet the film manages to sustain an erotically charged atmosphere.

Beginning with "The Puppetmaster" Hou has been increasingly moving towards a more minimalist form of cinema, stripping the narrative of everything that is superfluous until nothing is left but its emotional core, naked and unadulterated. "Flowers" is very much an interior film that does not depend on voiceover narration to make thoughts explicit. Hou's almost static camera continues to favor long medium takes ranging from 5 to 7 minutes, framing key characters sharing the same space and time, but well within reach of each other, capturing the subtle interplay and nuances while allowing them to drift in and out of the picture frame according to their relative importance in the social hierarchy. In this manner an entire community is evoked: demonstrating that the window to the world is precisely through the interior lives of individuals responsible for shaping the body politic.

Details

Country:

Taiwan Japan

Language:

Cantonese Shanghainese

Release Date:

17 October 1998 (Japan)

Also Known As:

Flores de Xangai

Company Credits

Production Co:

3H Productions, Shochiku

Technical Specs

Runtime:

113 min

Sound Mix:

Dolby

Color:

Color

Aspect Ratio:

1.85 : 1