The Emperor and the Assassin
©New Wave Co., Beijing Film Studio
Shin Corporation, Le Studio Canal+,
NDF, and Chen Kaige Film.
distribution by Moonlight Films, Holland
photos courtesy of The Publicity Company
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Birth of a Nation, Chinese style. Spectacular in another
vernacular. The story takes place in 3rd century China BC,
during the "Era of Warring States". Seven rival kingdoms were
at war during this period and Ying Zheng, the ruler of the
kingdom of Qin, finally succeeded in uniting the land into one
mighty empire which would leave a lasting legacy that had an
enduring effect on future citizens (including certain leaders) by
establishing a forceful rule with a heavily authoritarian style.
(The Western word for China derives from the territory of this
leader, Qin, which is pronounced as Chin.) The method of rule
he applied was so forceful that it resulted in several serious
assassination attempts on his life. One among them serves as
a basis for this film's title and took place shortly before Zheng,
King of Qin, achieved total power. Against the breathtaking
background of another time and place, the concubine who
serves both the emperor-to-be as well as an opposing ruler
manipulates herself centrally into a world of love, deception,
obsession, passion, power, and treachery. Some things never
change.
Concubine Zhao (Gong Li) has been the lover of Zheng (Li
Xuejian) since the days when he was prince. Hailing from one
of the other kingdoms, she was taken hostage while young in
order to prevent dissention or opposition that Zheng might face
from the people of her region. Zheng's growing thirst for power
and obsession with the thought of ultimate expansion leads
Zhao to believe that her home territory may soon find itself in
great danger and, to prevent the mass slaughter of her
kinsmen, she devises a cunning plan. She proposes to the
King that she might gain the trust of the Prince of Yan (Sun
Zhou), who, due to his threatening status as a rival, is presently
being held as a political hostage in Qin. Achieving this, she will
then escape together with him and flee back to his kingdom.
There she further intends to convince him of acting with
expediency in assassinating Zheng.
Zheng, comprehending that, with the assistance of Zhao
doubling as an informant, he could easily thwart the Prince of
Yan's assassination plan and publicly reveal his opponent's
treachery, becomes fascinated by the tactical complexity of the
enterprise. If he were simply to declare war on Yan, the
remaining five kingdoms would join forces with Yan against him.
If, however, they believed that an assassination attempt had
taken place, the tables would turn in quite another direction and
all five kingdoms would rally to Qin's side in defense. Then,
Yan would be forced to surrender. This procedure would be
less destructive and more effective than the alternative
possibility of achieving unification, which would entail a direct
attack on Yan and the loss of numerous lives. Such a war
scenario would most likely result in the five other kingdoms
joining the side of Yan against Zheng and would end in forcing
him to relinquish what sovereignty he possesses. The king
appreciates the extreme cleverness of the concubine's plan.
Zhao has her face scarred with a hot branding iron to facilitate
her success in convincing the Prince of Yan that she has solid
reason for her vengeful desires. Her intention is to tell him that
Zheng has done this awful thing to her. Dedication to the
survival of her kinsmen makes her realize that this is a small
sacrifice when measured against the bloodshed that would
result from a full-scale war.
With her plan under way, Zhao happens to cross the path of the
famed assassin Jing Ke (Zhang Fengyi) in a restaurant where
he attacks and unintentionally kills someone abusing a young
child. She intercedes to save Ke's life after this event takes
place because, despite his violent nature, she is touched by his
concern for the child's safety. This same man turns out to be
the person requested by the Prince of Yan to be hired for the
assassination, but, once Ke is approached with the proposal, he
voices his objection and wishes to have nothing to do with it.
He has become a man tormented by his violent past and who
no longer has any desires to pursue his old trade. Zhao now
finds herself entrusted with the added responsibility of
persuading Ke to change his mind and accept the commission.
Other plots are hatching around and within the royal household
at the same time, but Zheng usually manages to remove any
obstacles placed before him and stay any plots hatching behind
his back. One fiercely damaging revelation, however, is made
that turns the tables (in a very Shakespearean manner). Once
the blood begins to flow, destruction begins to run its rampant
path and any promise that Zhao might possibly extract from the
uncontrollable Zhang could easily be regarded with suspicion
and distrust. The politics of achieving a united nation combined
with the lust for absolute power remain uppermost in the king's
mind. He shuns neither deceit nor murder nor forced suicide
nor live burial if he finds it imperative to reach his ultimate goal
of becoming Shihuangdi, the first emperor of Qin.
Director Chen Kaige, whose sensitive hand is already familiar to
audiences from "Farewell, My Concubine" and "Temptress
Moon", has created an historical film of masterful proportions
that engulfs the viewer and which has already managed to
garner a technical award at the 1999 Cannes Film Festival. His
determination to find financing for this epic project finally
reached a successful end and the result is not only an
impressive work, but also the most expensive Asian film ever
made ($15 million). The script, written by Kaige and Wang
Peigong (author of "WM"), carries the story fascinatingly
through both the cities' hidden quarters and the corridors of
power into an unfamiliar world. There are twists and turns at
every corner. This complicated plot can, nevertheless, easily
be followed as long as your attention remains riveted to the tale.
The emotional tumultuousness penetrating the entire story is
subtly played by Gong Li, who maintains sufficient tension to
captivate the viewer while accomplishing her devious
manipulations. Li Xuejian, proclaimed as one of the most
popular actors in China, magnificently encompasses the myriad
aspects brewing within this multi-faceted ruler of Qin. Zhang
Fengyi terrifyingly embodies the killer whose piecemeal
revelation of sufferance, endurance, and intelligence reveal that
he possesses sensitivities in opposition to his appearance.
During his lifetime, Ying Zheng was a brutal, ruthless ruler
whose vision, coupled with megalomania and paranoia, drove
him onward armed with a strict code of obedience that never let
him hesitate for an moment when deciding to burn books or
have scholars buried alive. He was, at the same time,
responsible for endless advances in the empire during his reign.
He introduced standardized currency, instituted a unified writing
system, centralized government, constructed roads and
reservoirs, revolutionized agriculture, and had the Great Wall of
China built. Aware of his mortality, he also ordered construction
of the terra cotta warriors for his final resting-place. In order to
do justice to the glory and magnificence prevalent in China at
the time of his brutal regime, endless research was done during
the eight years of development spent on the production.
Meticulous precision was the order of the day for every aspect
of the film. The origins of the country were treated with the
respect they demanded by all those involved with the
production. In order to reconstruct this moment of history, it
was important to get all the details right. Production designer
Tu Juhua played a major role in recreating the appropriate
atmosphere. The royal palace of Xianyang was reconstructed
in its entirety, paying special attention to details as carvings,
frescoes and ceremonial vessels. Handan castle was
reconstructed for the scene in which it is invaded and destroyed
by fire. Reconstruction of the ancient cities of Qin, Yan, Zhao,
and Han took place in various regions of China. Painstaking
accuracy was taken in reproducing endless items, including
swords, thrones, chariots, goblets, and jewelry, as well as
musical instruments. One example of expertise and care at
work can be seen in the black flag of the Qin kingdom, which
was woven and dyed using the same techniques used by the
Tibetans over 2,000 years ago. All of this work was done under
the coordination of Tu Juhua, who also created the necessary
blueprints and drawings. The renowned costume designer Mo
Ziaomin spent two and a half years of combined research and
work before deciding on his final 400 designs for the production
and the result is striking. Zhao Jiping wraps the whole voyage
in sweeping music. DP Zhao Fei ("Sweet and Lowdown") has
captured this world with both stunning richness and stark reality.
A spectacle voluptuous for the eye, magnificent in detail, and
superb in its ability to create an exquisite atmosphere. The one
small objection might be with regard to its length (160 minutes).
On the other hand, one should be prepared to make allowances
for length when considering the extremely complicated plot and
the historical perspective in which it must take place.
© 1994-2006 The Green Hartnett
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