Pavilion of Women (2001)
Runtime: 1 hr 56 mins
Theatrical Release: May 4, 2001 Limited
Synopsis: This steamy period romance ranks as the first Hollywood-style, English language productions to emerge from China (Universal co-produced). Luo Yan (THE GIRL IN RED) produced, co-wrote, and stars as Madame Wu, an aristocrat trapped in a loveless marriage. It's 1938, and during her lavish... This steamy period romance ranks as the first Hollywood-style, English language productions to emerge from China (Universal co-produced). Luo Yan (THE GIRL IN RED) produced, co-wrote, and stars as Madame Wu, an aristocrat trapped in a loveless marriage. It's 1938, and during her lavish 40th birthday party, Madame Wu decides to arrange for a much younger second wife, Chiuming (Yi Ding), to fill in as sexual provider for her infantile husband, thus freeing herself to pursue other interests. Of course nothing goes as planned and Madame Wu's rebellious son Fengmo (John Cho) falls in love with Chiuming instead. Madame Wu also finds herself falling in love, with Andre (Willem Dafoe), an American missionary who runs an orphanage and tutors Fengmo. As these romances flame up in the face of China's old-world traditions, other disrupting factors come into play, such as the arrival of electricity, the gathering influence of the communists, and the catastrophic invasion of the Japanese. It's all directed with plenty of operatic sweep by Yim Ho (THE DAY THE SUN TURNED COLD), adapted from the novel by Pearl S. Buck. [More]
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Reviews
The only importance anyone is likely to associate with this overblown melodrama is self-importance.
In many ways, this is the East Asian equivalent of the old Europudding productions, where international players have created something that's more cacaphonous than melodious.
Suffers from predictable plotting that occasionally heats to a soap-opera boil.
The backdrop of exotic pagodas and wartime woe isn't nearly potent enough to buoy the feeble drama that plays out in the foreground.
Even with the brilliant, Oscar-nominated Willem DaFoe in its cast, this movie amounts to nothing more than a waste of two hours.
Despite solid performances and handsome production values, the picture ultimately feels like secondhand goods that have been refurbished for North American consumption.
Suggests a sudsy version of The King and I without forceful personalities or fancy production numbers.
A whole lot of bombast and phony exaltation in the name of entertaining enrichment.
Viewers have to wade through many embarrassing moments (and performances).
All the peripheral drama in the world can't generate interest in a film with so little sense of melodramatic proportion.
Its clumsiness turns it, against its best intentions, into half-baked operatic kitsch.

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