BEIJING, Dec. 14 -- The final days of the year are a
period of anticipation and expectation, particularly where blockbuster films are
concerned.
The long-awaited blockbuster "Curse of the Golden
Flower," directed by Zhang Yimou, one of China's most acclaimed film directors,
premieres today not only across the country but also internationally.
The
fact that it is again a story about an ancient emperor gets on the nerves of
critics, most of whom question the imagination and creativity of such big names
as Zhang Yimou, Chen Kaige and Feng Xiaogang.
They were accused of following the footsteps of Ang
Lee, whose "Crouching Tiger, Hidden Dragon" won an Oscar for best foreign film
in 2001.
The success of "Crouching Tiger, Hidden Dragon" seems
to have sent a message that martial arts movies set in ancient dynasties can
easily appeal to the tastes of Western audiences.
Films like "The Hero," "Ambush on All Sides," "The
Promise" and "The Banquet," produced by China's three best-known directors in
the past couple of years, have undoubtedly reflected a belief that films of this
kind are, if not the only choice, the main option to get their films onto the
international market with its handsome box office profits.
Against the background of making these expensive
films using overseas investment, the primary concern has become whether or not
these films can clean up at the box office so that they can secure further
investment and, of course, turn a profit.
All of these films are a success in terms of box
office income.
It seems the blockbuster formula has a chain
reaction. The glory of "Crouching Tiger, Hidden Dragon" propelled Zhang Yimou to
follow suit with "The Hero." Profit from the latter gave him the confidence to
shoot "Ambush on All Sides." Then directors Cheng Kaige and Feng Xiaogang made
their own similar blockbusters.
Martial arts stories set in ancient dynasties may
continue to dominate blockbusters financed by overseas investment in the near
future if "Curse of the Golden Flower" reaps record box-office earnings, as many
have predicted.
Spending money indeed helps lift the cinematography
of these films. And no matter how scornful critics are of them, no one has ever
denied their beauty and appeal.
These films have made inroads into the international
market, an achievement no other Chinese film had previously made.
Critics claim these films lack strong storylines.
They have also been accused of being shallow and criticized for not conveying
strong messages or values.
This may be the price they have to pay for groping
their way onto the international film market.
(Source: China
Daily)
