Song jia huang chao

It is interesting, and logical of course, that the reaction to this Hong Kong flick ranges from anathema to anthem, but, for overseas Chinese who neither speak the lingo nor are too familiar with the facts, this "Soong Dynasty" cinematic fable is more than watchable. That it is more fable than fact is readily obvious, yet the fable is more than entertaining. It is doubtful in the extreme, that Ching-ling survived miscarriage and 42 days sloshing through the marshes as portrayed, but until a more sober and satisfactory account of Mme. Sun's life and accomplishments are on the film record, this portrait will have to do. The production is super, even if the glib pictorials may off-put in their slick projections. And, finally, from this perch, one of the most engaging sidelights here is the wondrous staging of the opera house, wherein Chiang Kai-shek ogles and woos May-ling. I found myself wishing the principals would get out of the way to let the opera speak for itself in toto. Reminded me of how Hollywood always cut away from more interesting spectacle to zoom in on the treacly romance of the overpaid and under-talented "stars." Oh, well, you can't have everything, and there was enough of the opera and its stellar performers, inter-cut nicely with war footage. Soneone should make a film about Chinese opera, and I don't mean that saga about the two star=crossed Peking Opera stars, and especially not that impossible restaging of that improbable romance between a French diplomat and a cross-dressing starlet.

Mabel Cheung's abuse of her talents for a tribute(or bribery) to main China. Her femini-nationalism has shifted from warm and sympathetic episodes of Chinese emigrants to a bravado of Song sisters' historic activities during the political turmoil of modern China. Kitaro's music and all-star castings are just a whip of exceedingly sweet cream decorated on a clumsy cook's cake, in order to hide the black burnt sides. They did not want cream but cake for the celebration of Chinese retrieval of Hong Kong!

Of course, there are inaccuracies, but what needs to be noted here and giving the credit here is that for the first time, the mainland Chinese film has honestly told the stories of the Soong sisters. Under previous political propaganda, those with communists are saints and those against communists are devils, and CKS & his wife were no exception.

This film, from communist China, has for the first time, treating everyone as a person and describes them as such, not eulogizing them as saints or demonizing them as devils, and for those who were against communists, their positive deeds/accomplishment and personal talents are rightly acknowledged, despite their ideological political differences with the communist regime. This is what needs to be applauded for, and although there are people who still feel that this film does not do a complete right for the Soong sisters and their relatives/friends, this film is the very first step for China to honestly face its history in the movie industry.

Showing history accurately with all its complexities in a movie under a couple of hours will always be challenging. Mabel Cheung should be commended for trying.

Her attempt to tell the story of the birth of the Chinese Republic through the three Soong sisters succeeded as a engaging watchable movie. But unfortunately it fails to be a masterpiece that the material demands.

Here is a drama of a vast nation struggling to come to terms with itself and with the rest of the world (which was either benign or well meaning). Yet the story was told more like a soap opera of three rich but rather spoiled girls. The argument between the wife of Sun Yat- Sen, Ching Ling, and wife of Chiang Kai Shek, Mei King, at one point was presented as a sibling rivalry as who gets to be the First Lady of China.

For the technically inclined, the film editing can be better. While trying to juxtapose a Peking opera performance with the escape of Soong Ching Ling from hostility, instead of emphasizing the drama, the cut & jump seem to be disjointed. The action sequences also lack authenticity and pace.

Watch this movie as entertainment, you will be rewarded with beautiful art direction, good photography and overall superb acting (with a very convincing performance by Jiang Wen as Charlie Soong).

9* out of 10

This stunning non-fiction epic is filled with cinematic splendour. Base on accounts of the social upheavals in various points and eras in Chinese history, it is filled with gorgeous cinematography, great score by Kitaro and great cast. Historically accurate if not, a few minor point may be incorrect, but as a whole, it shows you the big picture.

With some of the best stars there is from China, Taiwan and Hong Kong. Maggie Cheung, Michelle Khan and Vivian Wu portrayal as the three sister are excellent. But the most powerful in performance are from the men. Jiang Wen (outspoken Charlie Soong) also a favourite actor of mine, Winston Chou (charismatic Sun Yatsen) and Kuo Chiuwu (commanding Chiang Kaishek) are powerful and haunting.

Despite an 18 minute footage cut from the original, still its a great direction from Mabel Cheung. As a loyal fan of great movies from China, in likes of directors Yimou, Kaige, XieFei and HePing, Soong Sisters to me will be one of my personal favourite masterpiece, one of the few from Hong Kong.

Genghiz