Avaliações de usuários

I watched this movie on the T.V. and I think if I had seen it in a theatre I would have rated it higher than 7. It is a fascinating story, beautifully told. The atmosphere created was wonderful. The story is tragic. The early childhood of Zhongliang was horrifying, as was the life led by the Pang family,addicted to opium; the cruelty shown him by his sister and brother-in-law truly shaped Zhongliang's character. Part of the movie is set in Shanghai in about the 1920's seemed real. It is a sad tale of corruption and cruelty.

This is a depressing, sad, dark, seedy, suspenseful movie full of intrigue, cunning, and deceit. It is a fine work of cinema in the dramatic sense. But, I did not find it to be as sensual as its billing had led me to believe. I expected a more erotic, sensual overtone to some of the story and/or the scenes. But, instead it was a tale laced with opium, betrayal, and desperation in a world that was changing from the old ways of ancient China to the newer ways of the West. I can see why it would have caused such controversy in China in the first place, as the box proclaims. But, I think that words like, "Sensuous," "Steamy," and "Ravishing," were over-used. It was a good story not for the tame of heart or mind. There are many quiet parts of the movie where there is little action and few words. It works well if you have the mindset to pay attention patiently. I think that a film like this will appeal to select audiences and I would be a little weary to recommend it to everyone. I think some people will like this film, others absolutely love it, while others yet may be bored with the slow-moving action and dark dialogues.

The images are very impressed. The color, the shadow, the depth of field and the framing are excellent. Every individual image is a great picture! Specially in the scene of presenting Ruyi as the master of the family, the soft lens makes Ruyi's white clothes flared, so that it emphasizes her special position in the family as well as her angel image.

We often see the sexual victim as woman. As contrary, this movie describes a male victim from the sex abuse of his sister and his brother-in-law. The tragedy goes deeper when this victim destroys the others and himself.

In summary, this movie is on my collection list.

Another exorcism by Chinese master Chen Kaige (who directed "Farewell My Concubine" three years earlier), of China's disastrous meltdown in the early 20th Century. An old landed family sinks into decadence as the Qing dynasty collapses and the chaotic early years of a Chinese republic swirl around their ghostly ancestral hall and mansion gardens.

Into this scene returns an extended-family member, Zhongliang (played by Hong Kong star Leslie Cheung), ostensibly to position himself for his Shanghai gang's takeover of the estates. But Zhongliang's return home awakens old wounds and rips open all new ones in a family reeling from generations of drug use and the collapse of an ancient civilization.

Cousins, brothers-in-law, sisters, then become embroiled in a sick game of love, lust, and revenge. This is a very sobering film yet hauntingly beautiful at times. All performances, from a radiant Gong Li, down to the smallest roles, are superb. The character development is profound, the story compelling, and the production values are stunning. A first rate movie.

What you can say about this movie is that it was not directed by Zhang Yimou who did (if I'm not mistaken) Raise the Red Lantern and Ju Dou which were excellent movies. This is similar -- but inferior -- to Zhang's work. Gong Li, the lead actress, is less sensual than usual, the story is convoluted and complicated, the ending is exactly like that of every other movie I've seen in which Gong Li is the lead, and the story strains credibility.

The lead male character, Zhong, is sort of a Chinese Tom Cruise. The women all love him, despite the fact that he's a louse. He suffers horribly because they suffer because of their love for him. Nobody suffers as much as Gong Li. Tragic ending predictable. The photography was good. That's about all.

When I rented this after reading the pitiful, typically over-sensualized box, I hoped only that it might struggle above tepid mediocrity in some way. In fact, I saw it and despised Leslie Cheung's petty Songlian and his sister Caifei He for the first hour.

Yet then I began to realize how intricately woven the characters and plot were as visual symbols began reappearing, and the movie began to happily shirk off introductory pretenses and reveal the forces behind the characters and their actions. Songlian's pettiness began to reveal itself as an intense and justifiable self-hatred, and that of his sister as terrible hopelessness. Meanwhile the others in the movie undergo powerful transformations as well, as we see how people struggle to bring their own beliefs to bear beneath the tidal wave of external circumstances. We see how they fail, and how their failure propogates their weaknesses, undermining others.

Overall we see the power of the subversive as it plays on the human mind and heart. We see beliefs destroyed at several levels, we see new beliefs emerge, less pure and more calculating. We see regret unfold in each of the characters, or worse, cold numbness to it from enduring too much.

And there is nothing to regret about the movie, except that the subterranean depths of the content make recommendation difficult (this is not a movie for most grandmothers, even though it is still delicate in how it examines its touchier subject matter). Still, it is beautiful in everything it does. The sights, the characters, the transformations, even the twistiness. We rever the characters and their changes, for good or worse because we understand them irrevokably. The movie is highly rich and interwoven. Elements interplay even down to recurring symbols, and by the end we realize that the entire movie is really symbolized in the first ten minutes, even though there is no way we could realize that from the beginning even if told so. Those ten minutes where we see the beautiful Pang estate, and the children, and life so revoltingly innocent at first glance. That is purposeful. What we take for inconsequential initially is proved to be far from it, and really that contrapuntal layering of pretended motive and deeper meaning continues throughout.

Every minute in this movie counts. Every side glance reflects meaning. "The Piano" was supposed to be subversive, sensual, touching and powerful, showcasing how the heart must contend with external harshness. However, it is clumsy, ugly, blatant, and ineffectual in comparison to "Temptress Moon" which tells so much more with so much less, and it breaks our heart unspeakably, but is above the painful, selfish bitterness or wallowing found in "Farewell My Concubine", "Raise the Red Lantern", and "Indochine" which really tell stories half as complex (maybe not Indochine). The characters in Temptress Moon are noble, despite and because of their outer twistedness and rent hearts.

A sumptuous earring, a swinging lamp, fresh roses, Songlian's longings for Peking, and twisting opium smoke and speeches on its merits and cruelties-- all these symbols snake by at first, yet come to how powerful meaning in the end, and they strike us at many levels in the movie, each time richer with understanding. I left far surprised and impressed. Finally, a movie great enough to express itself in humility of pretenses. If only they'd ditch the stupid and coarsely sensual box.

This film reassembles the director and stars of Farewell My Concubine. Unfortunately, Kaige Chen over estimates his abilities as a screen writer. Farewell was base on a novel by Lillian Lee; Kaige Chen, Kei Shu, and Anyi Wang provide little of the historical sweep of the earlier film for Temptress. BTW, the Temptress of the title is not played by Li Gong, but Leslie Cheung, which should give some idea of how wrong-headed this production is.

Not only the society in China decades ago, but also the current Chinese society. Again, like the movie Farewell My Concubine also directed by Mr. Kaige Chen, this film is also a work of contemporary criticism told in the form of a story happened decades ago.

Unlike the story of Farewell My Concubine (Ba Wang Bie Ji), what reflected in this film is far too close to home: what happened more than half a century ago is happening again in China and the director was more direct in criticizing the decadence in this film.

As the story unfolded I began to feel that it had been cribbed from a Russian novel. A set of unlikeable codependent characters feeding on each other's misery. The dark tale of a once powerful family's decadent descent into impotent obscurity serves as an allegory for the Ching dynasty. I only wish that there had been more character development, the minor family member Duanyu, who ended as the head of the family - what was his motivation for his betrayal of Ruyi?

The photography is sumptious, and the performances beyond reproach. The films moves slowly and requires the audience to pay attention, but for those who like a dark tale of pending doom and destruction it is worth it.

I rented this movie because it sounded sexy and hot. It was ..mmmm... well made period drama WITH NO SKIN!!! Now the depiction of love and longing and the moral struggle was nicely (albeit slowly) depicted, lack of sex on screen made it very...lame.

I decided to purchase Temptress Moon after viewing the breathtaking, and devastating, Farewell My Concubine. Both movies feature the amazing talents of Gong Li and Leslie Cheung. So total is their transformation between the two films, it's difficult to believe that these are the same actors.

While Concubine served as a historical epic, Temptress Moon seemed more along the lines of Shakespearean tragedy. Like Kaige's previous work, the characters' frustrations signify larger themes: domestic turmoil; gender repression; class conflict; etc. Although these themes concern the private sphere of life and are not as overtly political as those addressed in Concubine, they are just as much about power, its abuse and the resulting disfigurement of the human spirit.

Temptress Moon is by no means a romance. The movie succeeds in being lyrical and melancholy - more engrossing than entertaining. Despite the requisite tragic ending, I found the plot to be oddly satisfying! The waxing and waning fates of Zhongliang, Ruyi, and Duanwu intertwined to create a luminous study of the heart and its insatiable hunger.

Overall, Temptress Moon was a clear reflection of the obsessions that ruthlessly dictate interpersonal affairs. Leslie Cheung, Gong Li and Kevin Lin give mesmerizing performances while supporting portrayals like that of Caifei He as Zhongliang's sister and Yin Tse as Zhongliang's Boss are equally flawless. (Among the movie's many moral messages: "Don't Do Drugs!" :)

Few film makers capture this history of China from a Chinese production company, unless it is a propaganda piece. Excellent acting by the beautiful and fabulous Gong-Li and Leslie Cheung.

Gong Li as Ruyi, falls into the rare, but possible, role of head of the Pang Family, a somewhat traditional family in Shanghai, China; after her older brother falls into opium addiction and her father dies.

As a family head, she is almost in the status of a ruling house, and requires a marriage; confidential advisors; and love. By reason of her birth, she is also sheltered froom the world.

Still banned, at this writing, from circulation in China; this beautiful story photographed in a nearby Shanghai location; with actual ancestral hall and mansion with garden; transcends the dynasty (as it begins in 1911-12) through two decades of the new Republic. Cheung is a Capo or Dai-Lo of a Shanghai Triad after growing up in the Pang household. Gong-Li lives with the duty a death has given her, after "elders approval" and must cope with her childhood friend & cousin as a lover and trusted adviser; while being courted by the returned from Shanghai Cheung; with whom she falls in love.

Such a good movie with great plot and impressive visuality. Each shot is like a photograph and very beautiful, too. Story of Chinese traditions and a fervid love triangle. This is a movie of strong characters against tradition and each other and love. Gong Li and Leslie Cheung are among my favorite actors and actresses and they become a magical couple in the same movie. A must see...

This was an interesting movie.

This is a tale of tragic romance, where the male character is an emotional wreck (due to him being a slave for his sister and her husband, who also forces him to have a little experience with incest), and the female character is living her day in an opium cloud.

The acting from the main actors is top notch, namely Leslie Cheung and Li Gong, who always seem to deliver in every movie I have seen them in (Li Gong struggles a bit in her English speaking roles, and it does take something away from her performance in those movies, I must admit). Li Gong usually plays an intelligent character, but here she is an opium addict, so it is definitely different seeing her looking all confused and dumbfounded all the time.

The cinematography was spectacular, as it usually is when Christopher Doyle is in charge. The lighting and camera angles reminded me a little of David Lynch, and I believe it was done this way in order for you to see the world like you had smoked opium, just like the characters. You should see the movie for the acting, cinematography and camera work alone.

The main critique of the movie seems to be that it is very hard to follow the plot and figure out who is who. I agree with this. It gets established 40 min or so into the movie, but you could be tempted to turn off the movie before that because it is so confusing. But once it gets established who is who, and what they want, the plot becomes a lot better, and I became very involved in the movie.