The Lady

Based on the story by Rebecca Frayn, who had spent three years interviewing close confidantes of Aung San Suu Kyi, the narrative provides the points of view of both Suu Kyi herself, played by Michelle Yeoh, and her husband Michael Aris (David Thewlis), who because of her political awakening and development, caused plenty of emotionally painful, physical separation and time spent apart through her standing up for and accepting her countrymen's push for democratic leadership, after years of military rule from generalissimos Ne Win to Tan Shwe (Agga Poechit). It also presents different perspectives both within and outside of Burma as crises began to unfold with Suu Kyi a prisoner of her own home and country, and Michael being outside of it trying his best to sound out her, and Burma's plight. Then there's the sacrifice of family for country, where a breakup of the family unit was something inevitable in order to continue being there for her countrymen and not abandoning them at times of need.

In a story spanning decades that moves forward and back in time, Besson has a solid hand in knowing the highlights of the many years history to translate for the big screen, going back to the 40s when Suu Kyi's father Aung San, a war and independence hero, got assassinated, right down to her emergence in politics as a force to be reckoned with, and her subsequent house arrest, right up to the recent 2007 rallies and demonstrations by monks that eventually led to a deadly crackdown. The Lady presents Besson an opportunity to move away from his relatively family friendly fare of late with the Arthur and the Invisibles series, and also to perform an about turn from the usual action flicks, for something a lot more serious in gravitas, and needless to say the importance of getting the film right in most, if not all counts, as much as a filmmaker can with the resources at his disposal.

As such, some may feel that the film is relatively lightweight in its coverage of politics, although I must add that being confined to one's home in the prominent years of one's political life doesn't make for a smooth translation on screen, as there's only so much that one can do within the fantastic recreation of Suu Kyi's lakeside home. Instead a softer, more heartfelt approach through a love story opened up Suu Kyi as a character who's a lot more down to earth, than just a democracy icon. Besson's knack for handling strong female characters couldn't be more pronounced here, with plenty of opportunities in scenes to show she does not cower even with gun barrels pointed at her face, nor accept the constant nonsense dished out by the military might.

Despite the lack of action, you can feel Luc Besson's release of glee in channeling that frustration to mocking the military top brass, from their deliberate big moments and silly gestures bordering on the comical, to their illogical superstitions, with characterization being very much in line with our esteemed ex Minister Mentor's comments in WikiLeaks. Almost all generalissimos and their underlings are ridiculously decorated, and make extremely naive calls as if nobody can see through their simple rouse. It's a story of grace versus guns, which in any other typical Besson movie it's no surprise if it comes with preference for the latter, except for The Lady which trades in for the softer power approach.

Michelle Yeoh lost quite a lot of weight in order to physically resemble the lead role, and her time spent on researching Suu Kyi was time well spent as she nailed her mimicry down to a pat. Even her lines spoken in Burmese were flawless. Not that I can understand the language, but the large percentage of Burmese audience that I've watched this with were nodding and acknowledging her diction and fluency, as well as her performance of the real life heroine of their lives. In short, they were in awe by her elegance and poise in making Suu Kyi come alive on screen. David Thewlis also shone in his role as the husband standing firmly behind her decision and to make sacrifices knowingly for the greater good, for the benefit of even more people in a country that needs his wife more than he needs her. Together they made their struggle felt, and will seek to move even the most stoic of hearts. And the actors who played the Burmese generals, you guys surely hammed it up effortlessly.

This superb film may be travelling the festival and commercial theatrical circuits now, and will probably pick up a slew of film awards along the way. But what's more important and I'm sure it'll achieve, is to bring the attention of the world towards Suu Kyi's, and Burma's continued plight that seemed to be with no end in sight. You may not be very familiar with what may have transpired over the decades of strife in Burma, but The Lady brings you up to speed with a succinctly packed historical lesson centered around one of the world's enduring icons of freedom and democracy. A definite recommendation for this wonderful effort.

Making a commercial film about a struggle for human rights and democracy is a real struggle because most audiences want entertainment and not politics. So the producers have to find an 'angle'. In 1987, "A World Apart" told the story of the fight against apartheid in South Africa but through the prism of the strain that this put on ANC activist Ruth First's relationship with her young daughter. A similar approach is used here in this account of the life of Aung San Suu Kyi, the eponymous lady and leader of the National League for Democracy in the dictatorship that has ruled Burma for most of the period since post-war independence from Britain. So it is not politics as such which is to the fore here but Suu Kyi's relationship with her husband, Oxford academic Michael Aris, and most especially the regime's brutal refusal to allow Aris to see his wife one last time when he was dying of prostate cancer. It is a gut-wrenchingly sad tale.

Malaysian-born actress Michelle Yeoh - a Bond girl in "Tomorrow Never Dies" and pugilist star of "Crouching Tiger, Hidden Dragon" - looks perfect in the leading role, giving a performance which, while often understated, is deeply moving. David Thewlis (various "Harry Potter" films and "The Boy With The Striped Pyjamas") is very effective as the long-suffering husband. The exotic locations and local faces in Thailand serve the movie well and original music by the French Eric Serra plus some Mozart enhance the emotional power of the work. It is perhaps no surprise that the script for what is in essence a love story comes from a female writer - the British Rebecca Frayn - but one might not expect the identity of the director for this Anglo-French film: Luc Besson, best known for such action movies as "Nikita", "Leon" and "The Fifth Element".

"The Lady" may be a bit one-dimensional and lack nuance, but it highlights a long struggle for human rights that is not sufficiently well-known and the timing of its release (I saw it in January 2012) is poignant. When filming started, Suu Kyi was still under house arrest, as she had been in total for some 15 years, but by the time the film was finished she had been released. At the end of the movie, the iron grip of the regime and the number of political prisoners are highlighted but, in the weeks around the film's release, the generals instituted a series of liberalisation measures including the freeing of most political prisoners. If all this augurs an era of genuine democracy in Burma, "The Lady" will be a wonderful testimony to the power of personal courage and sacrifice to effect political change.

Ang Sang Suu Kyi is one of my most favorite political figures (I'm probably not alone on it), I hesitated whether I should go and see this movie, fearing it may not match my impression of Daw Ang Sang gathered from previous news footages and biography.

It was amazing to see Michelle Yeoh as Ang Sang Suu Kyi, the act was elegantly presented, the way how Michelle put her hand on the waist while walking gracefully, reminded me so much of the Lady, everything comes natural, nothing pretentious, it's a joy to see such a great act with simple body language, it even sent me a sort of spine-tingling joy when she walked on the stage to give her first public speech at Shwe Dagon People Forum.

I think Michelle did not disappoint the Lady and the people of Myanmar.

The storyline may be oversimplified but I would still rate this movie with 9, it's hard to present the whole struggle of Daw Ang Sang in a short time, but I guess most people who go and watch this movie should already have some background of what happened in real life.

I've seen the Lady in Hong Kong and found it one of the best movies of its kind.

Politically, the late eighties and nineties were the most hopeful period in recent history. Throughout the world, especially in Eastern Europe and Latin America but also in Africa and the Far East, dictatorial regimes were giving way to democracy. Activists such as Lech Walesa, Vaclav Havel and Nelson Mandela were exchanging their prison cells for their countries' Presidential Palaces, and it seemed that Burma (I will not call it "Myanmar"), which had been governed by a repressive military junta since 1962, would be the next democratic success story. Opposition to the regime was led by Aung San Suu Kyi, the beautiful and charismatic daughter of a national hero who enjoyed the devoted support of most of her compatriots. It seemed inevitable that "people power" would sweep away the junta, just as it had swept away the Marcos regime in the Philippines and the Communist dictatorships of Eastern Europe.

And yet this did not happen; the Burmese regime succeeded in maintaining its iron grip on power. Perhaps the reason was that, unlike many other tyrannies, it lacked any recognisable ideology beyond an Orwellian vision of "a boot stamping on a human face, forever". Communism collapsed when it became clear that it could not perform its ostensible ideological function, the protection of the economic interests of the working man. This in turn provoked the collapse of right-wing dictatorships like Pinochet's in Chile or Suharto's in Indonesia, which had justified their existence by claiming to defend their countries against Communism. Apartheid collapsed when it became clear that the economic interests of black and white South Africans were so closely intertwined as to make nonsense of the idea of "separate development". Than Shwe's junta, lacking any ideology which could be discredited in this way, could resist the forces of change for as long as it could maintain the loyalty of its troops and its own will to power.

"The Lady" depicts the life of Suu Kyi, known as "the lady" to her followers. It is not a complete biography, as it shows little of her early life, apart from the assassination of her father Aung San when she was three years old. The main action begins in 1988, when she was in her mid-forties and returned to Burma to visit her ailing mother, having previously been living in England with her husband Michael Aris, an Oxford professor. Her visit coincided with an uprising against military rule, which was followed by a brief period of liberalisation. She was persuaded to lead the country's nascent pro-democracy movement, and her party, the National League for Democracy, won a convincing majority in the 1990 parliamentary election. The military, however, refused to recognise the result and reimposed martial law. Suu Kyi was placed under house arrest and all political campaigning was forbidden. The junta seemed quite unmoved by international condemnation; even the award of the Nobel Peace Prize to Suu Kyi in 1993 could not persuade them to release her.

The film was directed by Luc Besson, who was perhaps not the ideal director, as he had previously best been known for making action movies such as "Nikita". He had made a previous biography of a national political heroine, "Joan of Arc", but even there the action scenes are the best thing about the film. It is perhaps therefore unsurprising that "The Lady" is rather slow and ponderous and shows signs of having been made by a director unused to this style of film-making. Visually, however, the film is often attractive, with effective contrasts between the green, tropical lushness of South-East Asia- these scenes were shot in Thailand rather than Burma itself- and the grey stone of Oxford, a city often seen in the snow.

To be fair to Besson, he appears to have been deeply committed to this film, and it is possible that without his commitment it might never have been made. He was fortunate in having a leading lady, Michelle Yeoh, who was just as committed as he was; indeed, it was she who persuaded him to take on the project. Yeoh here gets to show, as she did in "Memoirs of a Geisha", that she is more than just a Bond Girl, more than just a kung-fu action heroine. She has the advantage of bearing a striking resemblance to the woman she is portraying.

Yeoh described the film as "an incredible love story", and the element most emphasised in the film is the relationship between Suu Kyi and her husband, from whom she was separated for many years. She would have been free at any time to leave Burma and rejoin him and their two sons in England, but always refused to do so, knowing that if she ever left the country she would never be permitted to return. David Thewlis as Aris is perhaps even better than Yeoh, playing him as an unworldly academic and devoted family man who nevertheless selflessly insists that his wife remain in Burma, knowing that if she leaves the country this will be a great blow to the pro-democracy movement. His premature death from cancer, possibly brought on or exacerbated by the stress of his situation, is the film's most tragic moment.

Suu Kyi's house arrest has now been lifted and Burma is now ruled by a civilian government, although it remains to be seen whether it will evolve into a genuine democracy; the elections in 2010 were widely denounced as neither free nor fair, and the new government as a mere front for a continuing military dictatorship. The expulsion of Michelle Yeoh from the country last year would suggest that the authorities are still very touchy about criticism. The film, however, performs the valuable service of reminding the world of the problems of a country which was for too long one of the last bastions of tyranny. I certainly preferred it to "The Iron Lady", the other recent biopic of a major female political figure. 7/10

This is one of the best films I have seen in a long time. It was highly entertaining, emotionally evoking and educational. I had known very little on the situation in Bhurma, and felt the summaries I read prior to visiting the cinema to see this film did not do justice to this cinematic gem. I came away from the screening determined to learn more and do what small part I could to right the wrongs portrayed in The Lady. The setting was wonderful, and I felt the cast played their parts marvellously. Many write ups of the film have criticised the length, however I do not think the story could have developed to give one a reasonable overview of the situation with a shorter script. It would be unnecessary to follow each of the characters' developments in the film, particularly given the length of time in question.

I would recommend this film to anyone as essential viewing, whether or not you have an interest in political affairs or not. The politics in The Lady is so simply set out and self- explanatory that anyone would understand the issues at hand.