This film doesn't have a release date in North America yet, but here in Hong Kong it was our pick two nights ago for a family movie night. While it was enjoyable enough to pass some 2 hours, the more I think about it the more I begin to feel ambivalent.
Set in WW2 Shanghai right before the Pearl Harbour bombing, the plot revolves around American agent Paul Soames (John Cusack) investigating the murder of his friend Connor (Jeffrey Dean Morgan). While navigating the webs of alliances and corruption between the Chinese and Japanese, he falls in love and finds himself taking sides in an escalating war that could cost him his life. I guess you would classify the film as a mystery drama or thriller, but although suspense is maintained, the audience is very much walked through the story and there aren't any ingenious twists to keep you on your toes. Let's just say that when all is revealed, it's nothing jaw-dropping.
Can we talk about this badass cast? Well, except maybe John Cusack, who will always be that jerk guy from High Fidelity to me. Although he did carry the film better than I thought he would, I'm not sure if I've seen a sadder slimeball of a spy. Ken Watanabe plays Japanese Captain Tanako who has a shady alliance with Chinese mafia leader Anthony Lanting, played by Chow Yun-fat. The last film I saw Chow in was the atrocity of Dragonball, where he gave me enough second-hand embarrassment to vanquish all my childhood traumas, so it was good to see him back in a dignified role. Finally, Gong Li (flawless, perfect, doesn't age, goddess) takes on a femme fatale inspired role as Langting's wife Anna, who is secretly part of the Chinese resistance unbeknownst to her husband.
Although all three Asian leads give strong performances, the fact remains that they were cast for star power more than anything else, and what's more, typecast in roles that honestly could have been played by anyone who looked good in uniform, a trench coat, or a cheung sam. I really wish Hollywood would start giving more cred to Chinese and Japanese actors who are capable of so much more than lending an "authentic" aesthetic or delivering moral maxims and mysterious or sinister smiles. It's not that these characters were stereotypes or strictly one-dimensional, but their ~inner-conflicts and secretz~ were just as unoriginal and predictable as the classic trope of White Man Falling in Love With Married Asian Beauty.
Can it even really be called a spoiler to say that sexual tension brews between Soames and Anna from the very moment they sit opposite each other at a casino table? While there's nothing inherently wrong with Anna's sensual charm and Soame's understandable attraction to her, what bothers me is the way she eventually reciprocates these feelings. There's a really uncomfortable scene when Soames confronts her about using everyone in her life for the cause of the resistance, which according to him is really a personal vendetta for her father's death. It's not that he's yelling in her face and literally shaking her by the head --there's nothing wrong with an intense, angst-filled face-off between a man and a woman. It's the fact that it's immediately after this violent outburst that Anna "crumbles" and throws herself into his arms with tears streaking down her face. OMG ANGRY PASSIONATE MAKE OUT TIME, DID NOT SEE THAT COMING.
I know I shouldn't be surprised by such a gratuitous hook-up --I was basically waiting for it to come and go so I could get over the awkwardness of sitting between my dad and brother --but I have a real problem with scenes that show a woman's favourable response to displays of aggression. In this case, it's made worse by the inconsistency of Anna's character, who a) does love her husband and b) is very much her own woman who takes charge of her own operations, so you can't even argue that her submission is in keeping with the gender roles of the time period. Speaking of gender roles, I guess I also shouldn't be surprised that the betraying nature of a woman is a recurring theme throughout the film. But I can still be annoyed.
In theatre, it can be a backhanded compliment to say that the "production value" of the play was amazing when everything else was a shit show. While Shanghai is far from being a drag and will at least have you going with the motions, what I liked best about about it was probably the cinematography and throwback to film noir with some great compositions of light, shadow and rain. I'm also a sucker for that period look of the 1940s, and the grit and glamour setting of Shanghai was especially visually delicious due to the multiple national sectors the city was divided into at the time. Interesting fact to note is that filming took place in Thailand due to the sensitive subject matter, which led to the original filming permit in China being taken away. Chinese government: 1 Weinstein Company: 0. At least the two-block set that was built in Bangkok looks pretty amazing. Add to that the suits, fedoras and umbrellas and you just might forget the other inadequacies.
This stunning queen thanks you for your time.
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