How a film by the Chinese master filmmaker Zhang Yimou slipped under my radar is beyond me but I suspect many other people haven’t heard much of it either as this film didn’t really come in with much advertisements or notice. Furthermore, that this is one of Yimou’s best films, featuring gorgeous visuals, intriguing conflicts and great fight scenes, makes it’s near silent entry into the film world even more peculiar. Nevertheless, this is a spectacularly well-made film that deserves to be seen.
It’s a tale of palace intrigue, taking place during China’s Three Kingdom Era (AD 220 – 280) in the Pei Kingdom, where it’s king (Ryan Zheng) seeks to be at peace with Pei’s more powerful neighbor the Jing Kingdom. However, Pei’s Military Commander (Chao Deng) insists on taking back their homeland Jing, stating that Pei will never be secure until Jing has fallen to them. The title of the film, Shadow, refers to the double of Pei’s Military Commander, once an infant from the streets of Jing, taken away due to his resemblance to the Commander. When Pei’s actual Military Commander falls ill after a battle with Jing’s Military Commander (Jun Hu), the double is called to fill in.
Another peculiar aspect of this film, is it’s desaturation of color. Which is odd given how much Yimou is known for the vibrancy of his films; look at Hero, The Curse Of The Golden Flower or House Of Flying Daggers, all of them are spilling over with colors. This film is much more restrained dealing in blacks and grays. This creates a mood very different from his other films, a mood that matches the palace intrigue going on and the setting of near constant rain. It works to a haunting effect, elevating the film, and is again some of the best work Yimou has done.
The fight scenes in this film are also very impressive, there is an especially inventive fight scene in the end with an umbrella made out of blades that is simply amazing. The historical set pieces and costumes add another breathtaking quality to this film; proving again that the Chinese are the best at making and selling these ancient historical films. Another mention must be given to composer Lao Zai, whose minimalist score with a Zither is one of the best I’ve have heard this year as well.
The story is quite simple when you think back on it but it’s the interplay between the various characters in the film, and the other impressive aspects of the film mentioned above, that really lends to it’s complexity and ability to keep us guessing despite it being a story many of us might have seen numerous times before. Some have complained that the film is a little talky in the beginning, and yes it takes awhile before we see any fighting but the duets played between these characters is intense and never bored me.
The bottom line is, this is an extremely well-made film that satisfies, it lands among Yimou’s best and is a welcome return to form for the filmmaking master.
