Shadow (2018) (Mandarin Language)- BFI London Film Festival 2018

Review

116min

Genre:     Action , Drama, War

Director:  Zhang Yimou

Cast:       Deng Chao, Sun Li, Zheng Ryan…and more

Writers:   Li Wei and Zhang Yimou

-Synopsis-

At the end of the ‘Three Kingdom’s’ era in warring third century China, an arrogant young king languishes on the throne of Pei and holds to a peace accord, putting him at odds with his revered commander who yearns to reclaim their city from powerful rival neighbours, setting in motion a complex and deceptive conspiracy for power. But the best-laid plans of kings and men are soon complicated, and no one can be trusted . . . with conflict looming on the rainswept horizon.

After the lure of the global box office gave us his ambitious but forgettable CGI blockbuster fantasy ‘The Great Wall’ last year, legendary Chinese filmmaker Zhang Yimou (Hero, House of Flying Daggers) returns to his mastery of crafting visually arresting, semi-historical Chinese period epics. This time taking us back some 800 years to the politics and intrigue of the royal court, weaving threads of classical Chinese tradition and combat into a tale of identity and deception, and survival in a feudal time—while painting a stunning cinematic portrait of the hypothetical beginnings of the Jin Dynasty.

Deng Chao stars as the ‘Commander’, beloved military leader and hero of his kingdom, whose loyalty to the young self-assured ‘King of Pei’ (Zheng Ryan) and his sister the princess (Guan Xiaotong) is tested when they clash over challenging their neighbour ‘General Yang’ (Hu Jun) and his people, for control over the jewel in the kingdom’s crown—the city of Ping. And so begins the plotting and planning, dragging the commander’s devoted wife ‘Madam’ (Sun Li) into the deceptive fold—but in the subterfuge of court, and a time when nobles rely on devoted doppelgangers to survive, who is really pulling the strings and who is a pawn?

If there’s one thing you can count on from a Zhang Yimou period epic and costume drama, it’s for it to look the part, and ‘Shadow’ is no exception, but rather every inch a stunner. Featuring arresting visuals combining pillars of Chinese tradition including calligraphy, Ying & Yang (Taiji diagrams), the art of movement, and of course martial arts, ‘Shadow’ is ‘Wuxia’ filmmaking of ‘Hero’ and ‘House of Flying Daggers’ proportions—only with a deliberately less brilliant and more shaded colour palette. Indeed at times the look here is almost monochromatic, but no less striking, reflecting the mood of the piece and a narrative which is aptly represented by its title, all photographed beautifully by regular Yimou collaborator Zhao Xiaoding (House of Flying Daggers, Curse of the Golden Flower).

The sounds on show are an impressive match for the visuals, boasting superb sound design capturing not only the sounds of conflict and battle, but the subtle tones of nature and the elements, coloured by the haunting tones of the Chinese harp, which plays a role in the narrative.

There’s no real shortage of spectacle here either, building slowly but deliberately toward an almighty final battle and epic duel, relying on traditional techniques and using CGI only to augment some glorious and innovative action sequences. ‘Shadow’ also makes great use of Yimou’s penchant for incorporating rain into the pageantry, while cleverly using the fluidity of ‘feminine’ movement in the narrative and the fight sequences—and most memorably placing the umbrella centre-stage in the action . . . and as you’ve never seen it before.

But despite the action, and an occasional dose of graphic blood-soaked violence, ‘Shadow’ is less of a brutal and balletic action-packed martial arts spectacle than some of the director’s previous work, or indeed other Wuxia films. There’s more character melodrama and political intrigue, and less sweeping poetic storytelling here, with an added taste of romance, and more than a whiff of Shakespearean drama and Greek mythology to this reworking of Chinese history—and it’s there, in the narrative, where the film stumbles slightly.

The plot is intricate and the story deliberately meandering, misleading both the characters and the audience, despite their knowledge of the central deception. But things begin to unravel in the all-important third act, and in the overly stretched conclusion, which becomes not only uncharacteristically predictable, but is also burdened by distracting monologuing, stifling the film’s momentum and contributing to the feeling that ‘Shadow’ is about fifteen minutes too long . . . despite running for less than two hours. It’s all then finally wrapped up with ill-judged melodrama and a cut-to-black which leaves the plot dangling, but proves more of an unnecessary dramatic flourish than a genuine cliffhanger.

Yet in spite of the slightly underwhelming conclusion and some plot and narrative issues throughout, more than enough exemplary work is laid down to make Yimou’s latest a dazzling and beguiling affair . . . if not quite his finest. It may not quite boast  the levels of brilliantly choreographed martial arts of the director’s previous work, and of other Wuxia fare, or the edge and seduction of current Asian film, and in particular South Korean cinema—but ‘Shadow’ still proves to be compelling drama, a visual work of art, and a multi-layered meditation on ambition and identity, which is sure to leave a mark on any audience.

The Bottom Line…

A masterfully crafted, dynamic period peace ode to Chinese tradition, and a feast for the senses, ‘Shadow’ seduces and deceives both its characters and the audience, stumbling over narrative shortcomings and a slightly unsatisfying conclusion, but ultimately triumphing in the quest to captivate the viewer with a gorgeous cinematic tapestry of ambition and betrayal.

‘Shadow’ is out now in Chinese cinemas, with no UK or US dates yet.

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