O Último Entardecer

I was unprepared for the wonderful experience this film affords. The metaphor is striking and acceptable. Wang catches the bittersweet essence of the changeover, both at the specific and the generic level.

Li, Irons, and Cheung are superb. The movie is a cornucopia of visual delights. In fact, it probably requires repeat viewing to fully absorb the totality of its impact.

Thank you, Mr.Wang, for a truly unusual piece of work.

sasmd2@pol.net

The story structure when looking it up sounded really interesting, well the whole concept did, and am a fan of Jeremy Irons (seeing that it was one of not many films of his not seen yet), so they were my two main reasons for seeing 'Chinese Box'. Was very intrigued too by the subject of the political change in the handover of the British rule of Hong Kong returning to China, and was impressed by the couple of clips found of it to give a taster of what to expect.

It is a shame that 'Chinese Box' is so overlooked and not very well known. It may not be one of Wayne Wang's best films or his most accessible, one of those divisive films that will test the patience of some if not familiar with what the film is trying to say and do and fascinate others. It was the latter with me, but it's not hard to see why 'Chinese Box' won't be for everyone. It is though to me one of his most intriguing films, in terms of the subject and the symbolism, and a contender for his most underrated (try not to throw that word around now but do feel it's apt here). With its subject too, it should be treated more importantly in my view as it does in some way strike me as an important film, being the first film to depict the changeover.

'Chinese Box' isn't perfect. The pace does meander in spots, with parts feeling a bit aimless. The brief wordless flashback voiced over came over as rather vague and could have done with being longer.

Did think too that some of Gong Li's dialogue was pretty weak and the love backstory could have been explored more.

All that said, 'Chinese Box' was very well done and fascinating. Hong Kong looks wonderful, but one wouldn't expect any less because it's a place so beautiful that ruining it on film would be difficult. Some may not like the camera work, actually liked the documentary-like improvisatory look, with it mirroring John creating his documentary. The music is hauntingly hypnotic, capturing the sounds of Hong Kong/China in a way that makes one feel that they're there taking in the atmosphere, and Wang's direction complements the atmosphere of the period beautifully.

Some of Li's dialogue aside, the dialogue is thought-provoking, very honest and at times remarkably nuanced. John's reaction to being told by Vivian that she wants to leave Hong Kong really sears. The story may alienate people and leave them cold, for me the odd problems with pacing aside a lot of it worked. Structurally it's unconventional and episodic, but not in a bad way, never feeling too random or hard to follow. Wasn't left cold by 'Chinese Box' either, its portrayal of Hong Kong during the period depicted and the cultural differences and barriers is an accurate and painfully honest one done so authentically in a way that one can feel and smell it that would have hit home with people then with feelings still raw.

Was also moved by 'Chinese Box', although there could have been more development to it the love story did touch and charm me, feeling genuine, and the final scenes brought a lump to my throat. A few memorable scenes here that have since seeing the film stayed with me, such as John trying to persuade Jean to give an interview, that aforementioned scene and the scene with John and Vivian in the bar with Vivian mimicking Marlene Dietrich. It is a film that truly excels when it comes to mood and atmosphere, both done to perfection, and the human condition aspect is done with a lot of truth and liked that the film didn't seem to take sides. The narration was sincere and nuanced, and Irons could not have been a better choice to voice it (one only has to read the 'Lolita' audio-book or any other films that he does voice overs for to hear how amazing he is at it).

Characters are allegorical and symbolic, and not in a way that's black and white, John representing the dying colonial past for instance, and he and Jean are written in a compellingly real fashion. Vivian was a touch underwritten but was far from a cipher. Irons is just terrific and it is there in the list of performances of his that are among the best that are sadly overlooked, not just the expressive line delivery but also the way he uses his face and eyes, subtle but layered. A prime example is that previously mentioned reaction, starting off in a wordless mix of hurt, shock and anger told just throughout the face and eyes (he was always one of the best at this) and all those things increase intensely and movingly when he speaks, reminding one fondly of the tortured type of characters he plays so well. Li is alluring and touching with great chemistry with Irons, and Cheung even more so. Rueben Blades is similarly memorable, his music, which is truly beautiful with lyric writing that has a lot of power, symbolic of John's despair and emotions.

In conclusion, very interesting and well done. 7/10

This is the first time I watched a movie and thought that it had all the perfect subtleties and symbolism of a book. The characters were both real and yet surreal enough that you can see that every character interaction was both meant to represent individual struggles and the struggles of whole cultures. Like literature... sometimes you must learn to read between the lines to appreciate what the author/creator of the book/movie is trying to say. No this isn't just the type of movie you just sit there and watch and expect to do all the work. If you want low-maintenance movies then look elsewhere. Just like not all books are for light reading which just have gratuitous violence and smut... not all movies are made for the sole purpose of entertaining the viewer with the same type of stuff. Look at the name of the movie! It starts there. So many things are going on at once but I did not find it difficult at all to feel the emotions that were intended. So much suppressed emotions... very much like the people of Hong Kong worried about suppression of their freedoms. Each shot of the movie included something symbolic. I think that no matter how many times I watch it I will see one more thing that was meant to be said. Social, political, and individual... I truly admired this movie and the captivating web it has weaved.

I don't know if Wayne Wang is into photography or painting as a hobby, but just like his last two films, SMOKE and BLUE IN THE FACE, this movie reminded me of a mosaic or a photo album. I can see how some people had problems with it, since it's not a plot-driven film, but rather one of mood and atmosphere. I was moved by the images I saw, not just of the city and the changes it went through, but also of the actors. Irons is so often celebrated for the way that he uses his voice (justly, I might add) that you forget how well he's able to act with his face, and he does a terrific job here, communicating his sadness, his will to live even as disease ravages him, his agony over his unrequited love for Gong Li, and his curiosity and attraction to Maggie Cheung.

I haven't seen much of Cheung that I remember, but I've seen a few of Li's films. Both of them are excellent, Li especially in a role that's a lot more complicated than it might first appear. You really do feel that deep down, if circumstances allowed, she'd love Irons back. Cheung's role is mostly a symbolic one, but she handles it well. Not an easy film to watch, but moving.

I don't know why, but people on imdb and elsewhere have been very critical of this film. Personally, as someone living in Hong Kong, I think it is both a well made and important film. At the end, the analogy of Gong Li's character starting again, as Hong Kong is starting again, worked well. I think perhaps the only drawback is Maggie Cheung's character, as it seems a little pointless. However, I like nearly everything Jeremy Irons is in - he is really one of the world's best actors. His characters are always people that I can somehow empathise with - they're always very believable and he really carries the film's themes. The idea of setting the film in the six months leading up to Hong Kong's July 1, 1997 handover works well. As Irons' character dies, so does British sovereignty - the Union Jack goes down, the last Governor cries, Gong Li shakes off her long-time sugar daddy. It's a captivating and well-told story of which the Director should be proud, although I read an interview with him a while ago, and he didn't want to talk about the film, since it's upset some people in Hong Kong, I think. This film is certainly better than most rubbish that's made in Hong Kong. I urge you to find a copy and see it.