Lan xin da ju yuan

I loved seeing Gong Li, who was still getting it done at age 54, and the black and white cinematography has a certain style to it, even if the beautiful French Concession area in Shanghai was probably underutilized. The needlessly complicated story is the main issue, however. It's understandable what's happening with broad brush strokes, but quite muddled in the details. There are too many characters, none of whom are developed properly, and too many spies/agents afoot. Even the romantic moments feel dull. On top of it, director Lou Ye mixed in some meta play-within-the-film stuff which added nothing, and blurred things further. It felt every bit of 126 minutes and then some, livening up during the big shootout scenes, but then crawling ponderously to its finish. This was a slog, and a disappointment.

When it comes to good spy movies, there are more than i can count. The genre is big and people love it. Saturday Fiction is a very special type of movie in this genre. I was lucky enough to see this movie at the very first screening at the Venice Filmfestival. Critics didn't like the movie, but i loved it. The movie tells the story of a young actress, who is working for the Allies to collect informations about the Japanese. When she is coming to 1941-Shanghai, she has a special mission... I don't want to give away to much plot at this point, because the story is beautiful narrated and is the most enjoyable by watching it yourself. The movie has beautiful and artistic cinematography and is far far away from the mainstream spy genre. You have multiple characters, which are well developed (at least the main characters) and the story is tricky and feeds with nice little twist. The acting(especially Gong Li) is phenomenal and the music fits perfectly. For me it is one of the most perfectly balanced movies i have ever seen. It is never trying to be super creativ or super artistic. It stays true to himself, tells a interesting story in a perfect way and it will suck you into the story and blows your mind with the third Act, in which all the tension building up going to be set free in one of the most thrilling movie finals i have ever seen. A must-see for fans of asian movies and arthouse movies.

Seen at the Viennale 2019: A handheld camera cannot get closer to acting people. Always in the face it is near impossible to get a helping overview for the espionage story. Who is for the Chinese, who for the Japanese, who for the Germans, the French, the US? Nearly impossible to understand why somebody is doing something. The b/w-pictures do not help to distinguish between all the unfamiliar faces. Since digital cameras can record even without proper lighting the pictures are not b/w like in the old movies, but grey in grey - that does not help to recognize the faces in every situation either. At the end of the movie it is somehow clear who was on which side. Looking at the picture a second time to understand all the details of the story? Nay.. but the movie is rescued sensationally by a hundred percent believable acting of all the cast. Not for one second there is any weakness in dragging you in. For the regular Cineast a must-see.

I wanted to wait until the big screen to see the real face, but I had to watch the online version in advance because I had to prepare for the interview. It's a pity. It must be a film worthy of second brush, and the appearance may be improved after second brush. For the first time, I mainly focused on Gong Li's performance. Just a while ago, I just completed the "big red lantern hanging high", which can clearly see Gong Li's transformation in performance in the past 30 years. Gong Li's Song Lian is just Song Lian, while Gong Li's Yu pansy has unique characteristics and integrates its unique character and characteristics. Although there are few lines, the only remaining firmness among the mole ants in the great era has been accurately interpreted by Gong Li, which may also be related to Gong Li's more transparent life. I think this is not only Yu pansy's story, If Gong Li returned to the troubled times, she might make the same choice. However, Lou Ye's works in recent years are not excellent.

Saturday Fiction has a very attractive premise but it fails to deliver. The movie is set in war torn Shanghai during World War 2. The protagonists find themselves toying the lines between two fractions of Chinese government, Japanese and the Allied forces. The impetus for the plot is staging of a play called Secret Agent featuring a very popular Chinese actress and her former paramour who is directing the play.

The bad news is the movie fails to communicate any of this effectively. The director is obsessed with self indulgent cliched shots. He tries to bring in a personal touch with the handheld camera but he's not competent enough to actually communicate plot effectively so the handheld camera drags on, delivering plenty of pensive shots of the leads staring through windows looking at the rain, smoking and smelling each other. The action is also subpar. As with most movies shot in this style he relies on gunshot loudness to stun the viewer into submission. The movie is also shot in black and white. This neither helped or hindered the movie in my mind however it did highlight the limits of the director even more.

This style directly clashes with his inability to portray a passage of time so he frequently utilizes chirons to explain a day had passed. And ultimately he's left explaining one of the biggest plot points with a chiron in the last quarter of a movie.

The silver lining is the acting. This movie is impeccably cast and the actors go above and beyond to overcome the limits imposed on them by an unimaginative director.

The movie is too long. Too self indulgent but somewhere in there there's a good story - I suspect in the book the movie is based on. If you're a history buff who is already familiar with the World War 2 impact in Asia I suspect you will enjoy this. Otherwise there's plenty of other movies to watch.