Hou Hsiao-hsien remains probably Taiwan’s most famous filmmaker, though his films can be rather forbidding to casual viewers in their austerity (beautiful though they undoubtedly often are). He made his masterpiece in 1989 with A City of Sadness, but followed it with further important works, culminating with this period film, made close to the turn of the millennium (albeit restored to its original glory in the last year), but harking back a hundred years earlier on the mainland. His later work started to move towards more European collaborations, and sometimes settings, though still with his delicate style and sensibility.
I first saw this 20 years ago on its initial release, and it is still both bewitching and perplexing in equal measure. The film never leaves these interior settings, the chambers of various courtesans around Shanghai, but the camera glides around, moving first left and then right to take in the characters sitting in repose, gambling or smoking opium. There’s an almost constant drinking of tea and smoking of pipes and the word I have written in my notes most often, underlined at one point, is “languid”. This is a film that slips by, the emotions of the women trapped in this life, almost imperceptible and yet clearly fierce. Aside from the iconic face of Tony Leung Chiu-wai, most of these characters and their stories tend to slide into one another, and what you recall are the rooms, the noise, the quiet repetitive musical theme, and, yes, the languid atmosphere.
Director Hou Hsiao-hsien 侯孝賢; Writer Chu T’ien-wen 朱天文; Cinematographer Mark Lee Ping-bing 李屏賓; Starring Tony Leung Chiu-wai 梁朝偉, Michiko Hada 羽田美智子, Vicky Wei 魏筱惠, Carina Lau 刘嘉玲; Length 130 minutes.
Seen at Cinema Arlecchino, Bologna, Thursday 27 June 2019 (and originally at the Embassy, Wellington, Tuesday 27 July 1999).