M. Butterfly

Of all the David Cronenberg movies I have seen 'M. Butterfly' is my least favourite, but that's certainly not to say that it is entirely worthless. Despite some flaws and a few dead spots it is still quite a fascinating film. One of the oddest things about this movie is that despite its general feeling of unbelievability it is based on a true story. Cronenberg adds to this by deliberately casting the rather butch John Lone, rather than a more obviously androgynous actor (ala 'The Crying Game', a movie this is often compared to). This makes the story more confronting and less comfortable, and also one assumes, closer to the actual facts of the case. Jeremy Irons, who was robbed of an Oscar in Cronenberg's previous 'Dead Ringers', is outstanding as usual, Lone (still mainly known for 'The Last Emperor') isn't as good, but still fine, and the supporting cast includes a nice turn from Brit veteran Ian Richardson ('Dark City'). Most Cronenberg fans will probably find this a bit difficult to get into, as the material isn't exactly typical of the director, but it's much better than its bad press makes out. I expected to hate it, and I didn't.

Jeremy Irons and John Lone (who plays the character, Song Liling) should both have gotten academy awards for their performance in this incredibly enigmatic and captivating scorcher of a movie. This is a completely new twist on on the classic opera and may even be more of a believable story because it is so creatively wicked. It has a sexual tension that holds throughout the whole movie and is entirely played out in the mind and sensuously mesmerizing at the same time.

It's an emotionally tortuous journey that Jeremy Irons makes in the name of love (?), and more likely addicted passion. John Lone's performance is exceptional as one who is just as driven and hooked psychologically in his own way as what it is in him that drives him to fulfill Jeremy's ecstasy and descent into irretrievable madness.

Definitely one of the best movies ever! I hope this makes it to DVD sometime soon as it surely deserves to be seen again and again.

In 1964, in Beijing, the French Ambassaty accountant René Gallimard (Jeremy Irons) goes to a social event without his wife Jeanne Gallimard (Barbara Sukowa) and meets the opera singer Song Liling (John Lone). René becomes attracted to Song and soon he meets her at the local opera house. He falls in love with her and Song becomes his mistress. Meanwhile Ambassador Toulon (Ian Richardson) promotes René to Vice- Consul and he becomes adviser for the French Intelligence. But Song has deep secrets that the naive René does not have any idea and believes is part of the Chinese culture.

"M Butterfly" is a strange and fascinating film inspired by true events that makes it believable. Directed by David Cronemberg, "M Butterfly" is probably one of his best films with an intriguing love story about clash of cultures, having China as background in a troubled revolutionary moment great acting and magnificent cinematography and set decoration. Even when watched more than once, "M Butterfly" is still an attractive gem. My vote is nine.

Title (Brazil): "M Butterfly"

M. BUTTERFLY continues to rank among the more important cinematic adaptations of a brilliant play - this one by the playwright David Henry Hwang. Having the pleasure to see two productions of the play - New York and Los Angeles - and viewing the film (1993) in the theater and on DVD brings an immense amount of satisfaction of just how fine this work is and continues to satisfy. The fact that David Henry Hwang wrote the screenplay suggests how true to the original the film is and how much of an impact it makes on the viewer

M. BUTTERFLY is based on a true story that stunned the world. During the Cultural Revolution in China in the mid-1960s, a French diplomat René Gallimard (a brilliant portrayal by Jeremy Irons) falls in love with a Chinese opera singer Song Liling (John Lone) - women were never allowed to sing in the Beijing Opera so the fact that Song is a man is credible. Song Liling touches him with a love as vivid, as seductive--and as elusive--as a butterfly. The love affair is so fragile and respectful that René does not suspect that Song is a man in disguise. René Is an important diplomat with the French Embassy, married to Jeanne (Barbara Sukowa), and is responsible for maintaining the high standards of diplomacy. Song Liling has been placed in the position of an undercover agent to gather secrets from the Embassy about the American plans in Vietnam. As René is promoted he demands to see his M. Butterfly without her clothes, an Song's only protection about her gender identity is to reveal that she is pregnant with René's child and must leave to be with her family until the child is born. As the Cultural Revolution heightens the French Embassy is to be diminished and it is discovered that René has been in a liaison with with a Chinese spy and is sent back to France to be imprisoned. When he is put on trial Song appears in Paris to be placed on the witness stand and since years have passed since their last meeting, Song attempts to offer herself once again to be René's Butterfly. Whether or not René's passion was a flight of fancy, it sparked the most vigorous emotions of his life. Only in real life could love become so unreal. And only in such a dramatic tour de force do we learn how a fantasy can become a man's mistress--as well as his jailer. In a desperately touching final scene we see the imprisoned René perform the final act from the opera that has accompanied this film - Puccini's MADAMA BUTTERFLY.

The story is at once compelling, explosive and slyly humorous, 'a work of unrivaled brilliance, illuminating the conflict between men and women, the differences between East and West, racial stereotypes--and the shadows we cast around our most cherished illusions.' The musical score by Howard Shore integrates arias and choruses from Puccini's opera with music from Chinese opera and his own sensuously beautiful original musical score. David Cronenberg directs with the tight amount of surreal disbelief the piece needs, but it is the brilliant acting of Jeremy Irons and John Lone that illuminate this film. It is a masterwork.

Grady Harp

I've been searching for this film for a while. Having seen Videodrome, The Fly and Naked Lunch, I knew that Cronenberg was capable of making compelling, disturbing, horrific pieces which resonated in a dark, menacing way; staying with you via their visceral imagery and twisted ambiance. Having seen Dead Ringers, Spider and A Dangerous Method, I knew that Cronenberg also had another side to his work. A more restrained, mature, refined yet no less affecting style which, at its best, achieved a great level of tension without the visceral gore of his aforementioned works.

What I hadn't seen was M Butterfly. The almost unmentioned work which takes Cronenberg's more mature approach to filmmaking and fulfils his promise by giving him a jewel in what is an extremely impressive crown. I greatly enjoyed the movies I mentioned in the previous paragraph but even the best ones I felt were lacking something for me to be able to say they were a masterpiece. Perhaps they felt a little convoluted, gratuitously gory, or perhaps at times distant and even lifeless in some of his later works. But M Butterfly is none of these things; well some may say its plot is convoluted but, strangely enough, it's heavily based on a true story, or rather it's based on a novel which is based on a true story.

What M Butterfly has, which many of Cronenberg's other films lack, to varying degrees, is relatability and empathy. Pure, unadulterated empathy. It presents its characters not as good or bad; it's not interested in judging or condemning; it is a film which desires to take you deep into the world of an enchanted and tortured man: Rene Gallimard. It wishes to show you his most intimate passions and desires, his triumph, his awakening, his desperation and his suffering. It wishes to explore his self- realisation, his moments of greatest happiness and it wishes to show us his ultimate tragedy.

This is a film which echoes with symbolism. Its structure is tight, its performances, by the two leads, are heartbreakingly sublime. It is influenced by opera, by Hitchcockian psychological, twisted romance, think Vertigo. Its story opens and unfolds like a delicate rose which eventually must wilt and die. This is poetry, this is humanism. This is the most accomplished and meaningful work I've seen in a long time.

If you are even slightly tempted to investigate this then know that, despite its lack of recognition and a number of poor reviews, this film had the power to tantalise and haunt, in equal measure, at least one audience member. I was taken on a journey which I intimately understood only too profoundly. Perhaps it will mean something significant to you too.