Women struggle in a Shanghai brothel where everything only appears to be beautiful.
Women struggle in a Shanghai brothel where everything only appears to be beautiful.
Tony Leung Chiu-Wai Michiko Hada Carina Lau Michelle Reis Jack Kao Rebecca Pan Stephanie Fong Shuan Annie Shizuka Inoh Pauline Chan Bo-Lin Vicky Wei Firebird Liu An-an Hsu Hsu Hui-Ni Shuan Fang Hsiao-Hui Wei Hsu Ming Josephine A. Blankstein Simon Chang Tony Chang Yiu-Ming Lee Yu-han Lin Wei-kuo Chiang Yu-Hang Lee
Hai shang hua, Les Fleurs de Shanghai, フラワーズ・オブ・シャンハイ, 해상화
I'm not overly familiar with Hou's work so I wasn't sure what to expect. But I love what I just saw. There are a number of sequence shots in the film, and each one is designed in a way that allows the camera to move freely within the designated space and reveal more and more as the scene goes along. Hou has practically built the film around his camerawork. Appropriately so, as this beautiful chamber drama is meant to mirror the limited perspective offered to many of its characters.
The film follows the intertwined fortunes and intrigues of four “flower girls” serving in the opulent brothels of fin-de-siècle 19th-century Shanghai. Tony Leung plays the melancholy Master Wang, who is torn…
Flowers of Shanghai is an almost perfect cinematic experience, a film of such incredible calm yet it rages like a storm within your heart. It is a film with no beginning or end, just a loose collection of scenes that invoke and create an entire world. It is a film of long takes, with a lengthy opening shot designed just to set the atmosphere. Throughout Flowers of Shanghai, the camera merely sits and observes, panning between players in this extraordinary landscape. Hou Hsiao-hsien's camera just keeps distance and never judges. His film never enters the outside world, we are just confined with the people of the past.
Flowers of Shanghai is rich in the feel of history. It deals with…
The man is Tony Leung Chiu-wai, who gave one of his first great performances in A City of Sadness but is by 1998 established as an international arthouse superstar after a series of great films with Hong Kong directors Wong Kar-wai and John Woo. He plays Master Wang, apparently an official of some type from an extremely wealthy family. He is engaged in a longterm client relationship with Crimson (Japanese actress Michiko Hada) but is also spending time with Jasmin (Vicky Wei). Pearl (Carina Lau) is a veteran flower girl, clear-eyed and reasonable, commenting on the foolishness of the young girls in her house, particularly Jade (Shuan Fang), who entertains romantic notions of marriage in regard to her young client.…
I’ve been sitting on this film for about 2 hours at this point, and I can’t quite wrap my head around it. It’s extremely brilliantly well placed and perfectly conveyed. It moved me beyond words. I am suspicious that this is a favourite of mine, however I’m not quite sure, it’s a very delicate piece and demands more contemplation for me to be certain. Something stops me. I’ll revisit it again tomorrow to see if my suspicions are correct.
This film encapsulated a world of smokey mysticism that I have not seen before, it’s mysterious aura tastes so bittersweet, a film so beautifully hypnotic, it’s one of the most mysterious films I’ve seen.
A movie of very deliberate controlled tone and lighting. The camera is in constant movement, but hardly ever out of medium shots. Hou employs a gliding technique to match the ever present opium dens and feelings of immobility to both reference the drug and the languid nature of the courtesans. The job is just a job, and like in Lizzie Borden's Working Girls the blank spaces are leeched upon in the life of sex work instead of what cinema has come to falsely understand as the life of a sex worker. It's a boring gig. I don't know if Hou was going for realism, but I imagine this is close considering the time period, and the job. Like most movies…
Na sua opinião, um "cineasta" se define antes de tudo como alguém que considera o cinema como uma arte do tempo e da duração?
Existem pouquíssimos filmes em que a arte do tempo é exercida. Só pode haver arte do tempo se houver arte do espaço. Os únicos que têm uma noção real do tempo são os Straub. Mas a sensação de tempo pode ser produzida além da duração dos planos. Nos meus filmes, acho que há uma sensação do tempo, mas ela não é produzida nem pela organização das cenas nem pela duração delas. Eu não sei o que a produz. Enquanto nos Straub, a sensação de tempo é produzida pela relação entre a duração dos planos e o…
Hsiao-Hsien rarely actually films drama here - he rather films its consequences directly, only interior scenes, only private dwellings. who is actually pulling the strings is the strucuture everyone finds themselves imprisoned. the procedure and settings are very similar on each setpiece but the film remains fresh and affecting throughout its entire runtime, a camera with such minimalistic precision and a world so cohesively imagined, definitely one of the best chamber pieces ever conducted. Each courtesan has such a careful construction of their inner worlds, their particularities and aspirations, all of them entrapped in the same system: money and enslaving patriarchy, enslaved flowers, each trying their best to keep blossoming but knowing they are constantly withering - one is managing…
Should be a.k.a. Interiors. Not one single shot is outside, we don't even see outside. Does it exist?
Triple H is Godlike.
Gorgeous movie, I was looking at the sets, costumes, and details throughout. And body language of the actors, especially Tony Leung who can convey so much with so little.
And yet this movie is utterly boring. Not my style at all.
Only stable camera, rarely moving, transitions being only fade-to-blacks. If it's your kind of movie you'll love it. But I thought it was only okay.
Tony Leung Chiu-wai is best known for his work with Wong Kar-wai, of course, but it is the mark of what a great actor he is, the list of filmmakers he has worked with: Ang Lee, Zhang Yimou, John Woo, Anh Hung Tran and Hou Hsiao-Hsien.
Flowers of Shanghai is Hou Hsiao-Hsien's 1998 film about the twisting relationships between wealthy patrons and courtesans, relationships that may lead to marriage, or abandonment. It is a glacial film about power. Set within lacquered rooms, with a camera lingering from a distance. Restrained, with the occasional outburst. Tony Leung is melancholic, in the manner that no other actor can compete with; while the female courtesans, named Crimson, Jasmin, Pearl, Emerald and Jade, are…
Theres a lucid grace to Flowers of Shanghai that is established with its stunning opening shot, and carried throughout. This first scene is an unbroken 8 1/2 minutes in which characters merely talk, and play drinking games while the camera dreamily pans to and fro. Every set piece, every actor, and every action is perfectly choreographed and over the length of this shot we are imparted with invaluable knowledge of these characters and their surroundings. By design, the pacing draws us into a gilded world of oppressive brothels called 'Flower Houses'.
Celebrated director Hou Hsaio Hsien, who won the Best Director prize at the 2015 Cannes Film Festival for The Assassin, is often considered a defining figure of "Slow…
There are very few movies I can think of that are as gorgeous as Flowers of Shanghai. The story didn't really do much for me but the technical mastery Hou Hsiao-hsien showcases is phenomenal. I wish the film as a whole made more of an impact on me, was really looking forward to this movie when I started his filmography.
Basis for future review:
Yellow never looked more beautiful then on the smoky interiors of a beautiful bordel with hidden anger.
If you're afraid of pain you should be an official's wife or daughter, not a flower girl.
this is lav diaz directing muhteşem yüzyıl in qing era shanghai
Frankly, I had no idea what was going on when I first watched it last year. I missed the boat in the first scene and there was no way to swim on from there without a huge boost of energy.
This time, however, I studied that first scene with miserly attention to detail, and how it did pay off. Suddenly a film which before seemed defiantly discursive in its narrative seemed taught and rigorous. Scenes didn't drag on, they were sculpted to precision. I still fail to entirely grasp the argument of the film, the thesis, such unfortunate words for such a luxuriously naturalistic piece. At the very least, it's an evocative depiction of an insular world of gossip and…
Exploration magnifique des rapports homme-femme au coeur d'un bordel à la fin du 19ème siècle, Les fleurs de Shanghai est d'une beauté folle et envoûtante. Hou Hsiao-hsien par sa mise en scène minimaliste offre une sorte de théâtre de la vie, capturant le temps et une ambiance particulière, sublimée par la musique hypnotique. On erre au rythme de la caméra dans ces tableaux montrant un passé révolu et des femmes, résolues pour certaines à leur dépendance et à l'amour, luttant pour une autre pour son indépendance. Au milieu Tony Leung, classe comme toujours, tente de vivre sa vie amoureuse avec la courtisane qu'il aime, en vain. La douceur et la distance avec lesquelles ces vignettes sont filmées ne leur ôte…
La ¿trama?, que gira en torno a los burdeles del Shanghái colonial de fin-de-siècle, no me interesa. Tampoco la homogeneidad cromática, con un ambiente cálido uniforme consecuencia de las onmipresentes lámparas de aceite. Hou Hsiao-hsien apunta hacia el éxtasis estético y falla. Necesitará diecisiete años hasta alcanzarlo con la insuperable The Assassin.
L’expérience était très étrange mais très intéressante. J’ai passé deux longues et magnifiques heures devant ce sublime tableau, je me suis laissé bercer par le rythme hypnotisant et ça m’a fait l’effet d’un trip à l’opium (jamais pris d’opium mais j’imagine que ça ressemble à ça). Par contre j’en ai oublié de m’intéresser à l’histoire, mais c’est pas grave c’était bien quand même.
Virtuosic opening shot, and then some.
Seen on my computer
Need a revisit.
It's wonderful to be reminded of the power of a languid camera, ebbing and flowing between people like this. Combined with the timelessly beautiful, orange-tinted interiors, it's like you're watching the tides roll in and out at sunset, little by little succumbing to the rhythms of the world. Really melancholy and beautiful and...calming, despite its devastating emotional core. I think Tony Leung is one of the few actors I'd rank among my favorite artists. What he does with his eyes in this film is astounding.
juliodogpit 600 films
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The Academy Award for Best Foreign Language Film is handed out annually by the U.S.-based Academy of Motion Picture Arts…