Review: Red Cliff
Jun 11 2009 The Journal
(15) (2hrs 27 mins)
Starring: Tony Leung, Takeshi Kaneshiro, Zhang Fengyi
Director: John Woo
Rating: ***
DIRECTOR John Woo heads back east to helm the most expensive Chinese-language film in history, set during the rule of the Han Dynasty in 208 AD.
The scale of his historical epic is jaw-dropping, with battle sequences featuring a cast of thousands and more aerial shots of arrows raining down upon legions of unsuspecting victims than the entire Lord Of The Rings trilogy.
Certain sequences, like a naval stockade of 2,000 ships sailing up the Yangtze River, can only be accomplished with digital trickery.
The computer-generated visual effects don’t always pass muster, but when Woo’s camera is in the midst of the meticulously choreographed hand-to- hand combat, this is truly a feast for the eyes.
In Asia, the film was released in two parts, clocking in at just under five hours.
Thankfully, for the sake of sensitive British buttocks, the subtitled version cleaves Woo’s ambitious vision in half, condensing all of the political intrigue and tactical warfare to 147 minutes.
A growling voiceover distills key historical facts over opulent opening scenes at the court of weak Emperor Han, who quakes in fear at the approach of Prime Minister, Cao Cao.
The scheming politician proposes that the Emperor’s vast army invades land under the control of Liu Bei and Sun Quan, thereby unifying China.
Liu Bei and his generals are overwhelmed by Cao Cao’s military might, so he sends brilliant strategist Zhu- Ge Liang (Takeshi Kaneshiro) to seek help from Sun Quan via his powerful viceroy, Zhou Yu (Tony Leung).
Through music and conversation, the two men forge an unshakeable alliance.
The massed forces of the two armies congregate on the banks of the Yangtze River at Red Cliff, where Sun Quan’s loyal general Gan Xing galvanises his men into action.
Meanwhile, two women - Zhou Yu’s wife and Sun Quan’s sister - assume pivotal roles in the mission to undermine Cao Cao’s assault.
The film is surprisingly easy to follow despite the constant distraction of subtitles amid all of the beautifully-orchestrated carnage.
You can almost feel the singeing heat of the fiery climax that takes the battle to the water.
Woo’s visual trademarks are in evidence - a fluttering dove, face-to-face stand- offs - while his script hammers home the underlying themes of nobility and fraternal bonding.
