By Kim Tae-jong
Staff Reporter[/i]
Jang Dong-gun, right, and Cecilia Cheung in a scene from "The Promise Renowned Chinese director Chen Kaige emphasizes that his new epic fantasy ``
The Promise¡¯¡¯ is an ``Asian¡¯¡¯ film showing the power of Asian culture to the world.
``The real meaning of being an Asian director is we can put the power of culture from all Asian countries together and show everything people can possibly imagine,¡¯¡¯ Chen said Thursday during a news conference at Shilla Hotel in Seoul.
The director, well known for his 1993 film ``
Farewell My Concubine,¡¯¡¯ also explained that the film is not just a commercial film but contains deep and profound Asian values on life.
``It shows our attitude, from the Asian point of view, toward life _ magnificent but short. And what I also wanted to talk about is the freedom of heart,¡¯¡¯ Chen said.
The film revolves around a beautiful girl destined to lose her lovers in exchange for wealth and fame, and three men falling in love with her. The characters fight for love and against their pre-determined fates.
Although the story takes place in fantasy settings, the film endears so many Chinese as they can sympathize with characters in the film, who are locked off by their desire, ambition and hatred, the director added.
The epic film is the China's most expensive movie with the production budget of $35 million and stars from three different Asian countries, but the director said he had to face budget restrictions especially with graphics.
``To be honest, our budget was too limited to have the state of the art Western computer graphics. As I am a still student in computer graphics, I think I could do a better job in my next films if it is needed,¡¯¡¯ Chen said.
The conference was also attended by the film¡¯s main actors
Jang Dong-gun of Korea, Hiroyuki Sanada of Japan and
Cecilia Cheung of Hong Kong, and they said they found the acting a unique and valuable experience as they have more and more opportunities to star in co-production films with directors and actors from different Asian countries.
Jang, who plays Kunlun, a slave with a magical power of agility, in the film worked with a Japanese actor in his 2003 action film ``
2009 Lost Memories¡¯¡¯ and Cheung appeared in the local film ``
Failan¡¯¡¯ in 2001.
``Of course, it was tough and challenging to use the Chinese language at first,¡¯¡¯ Jang said, ``I was nervous before shooting, but I got used to it and forgot that I was using Chinese after I realized that acting is something done by your heart.¡¯¡¯
``
The Promise,¡¯¡¯ which will be released here Jan. 26, is a newly edited version, different from the 121-minute original shown in China. The original was edited because the filmmaker decided to make the film simpler for international audiences and to counter the piracy movie files already circulating the Internet.
e3dward@koreatimes.co.kr
01-20-2006 17:37 The Promise Press Conf. in Korea, 1/19/2006Source: daum.net and naver.com
credit: dreamer, Just Jang Dong GunSource:
http://kr.news.yahoo.com, photoro.com and star news
PSIFF Report: The Promise (Wu Ji) ReviewGloriously committed to a fantastical yet strangely traditional world of honor, romance, and treachery, Chen Kaige delivers a colorful, rousing, absurdly serious romp.
Stunning on the biggest screen of the Camelot Theatres complex in Palm Springs, it's easy to imagine that THE PROMISE will be much less impressive in smaller venues. Despite inevitable comparisons with Ang Lee's CROUCHING TIGER, HIDDEN DRAGON and Zhang Yimou's HERO and HOUSE OF FLYING DAGGERS, Chen forges his own path through the CGI forest. From its opening moments, THE PROMISE enthusiastically fornicates with computer imagery, displaying a reckless lust for fairy tale settings and magical creatures.
Newly shorn of its unwieldy -- though not as silly as it first sounded -- original English title (MASTER OF THE CRIMSON ARMOR refers to a military title for the leader of one of the two warring armies in the film), THE PROMISE deserves attention for the over the top production design of Tim Yip, who creates luscious settings that integrate wacked-out computer game imagery. Peter Pau's usually fine cinematography tends to get lost in the digitized worlds that appear to predominate.
As for the plot, well, it's not the factor that will drive repeat business (we'll get to that in a moment). The story tends to get lost in the blizzard of effects, and I couldn't tell you the particulars even if I tried to jot down notes in the dark of the theater.
The romantic triangle is unconvincing; the acting is on par with Chen's embarrassing English-language feature KILLING ME SOFTLY. Cecilia Cheung bothers some people, but I love the throaty, head-cold timber of her speaking voice, which has apparently been dubbed here. Nicolas Tse is as petulant as ever as a spoiled rich boy. No one else in the cast, including the other two male leads, really stood out.
What should drive you to any cinema that plays this soaring, somewhat silly adventure is the insanity of the vision. When you see thousands of clumsily computer-drawn bulls and soldiers thundering through a canyon, and then watch our hero, a hitherto lowly slave, hopping and flying through the air dragging his master along, you will know you are in the presence of a genius. When your eyes bug out of your head from the blues and reds and blues and golden yellows that are splashed across every scene, and when you see how the romantic triangle is resolved in a glorious, madcap fight, played entirely straight, you will be glad you plunked down your money to see this wonder on the biggest screen possible.
The Weinstein Co. gave up on this one and returned their theatrical rights to the producers of the film, but we fervently wish that it will receive at least a limited run in as many cities as possible. If a DVD becomes available, sure, buy it, but treat yourself and don't watch it until you've seen it where it belongs.
Posted by Peter Martin on January 20, 2006 03:53 PM Source:
http://www.twitchfilm.net/archives/004869.html