|
PAVILION OF WOMEN Send This Review to a Friend
A novel by Pearl Buck is the source of this old-fashioned, mostly lethargic personal drama set in 1938 against turbulent events, including the Japanese invasion and battles between the Nationalists and the Communists. Buck was known for personalizing stories against a larger picture ("The Good Earth," for example), and in this case the focus is primarily on the wealthy Wu family, in particular Madame Wu Ailan, who is bound by the traditionally subservient role of women but to some extent rebels. The catalyst is a missionary and doctor, Father Andre, who challenges Madame Wu's old ways and also sparks her sexual feelings. Until then she has been a conventional wife and household head, who surprises everyone by bringing in a younger woman to be her husband's concubine in order to retreat from his sexual demands.
Willem DaFoe is effective as Father Andre but the portrayal of Madame Wu by Luo Yan, who co-authored and produced the film, is rather bland, as is the direction by Yim Ho. This is a co-production with Beijing Film Studios, a sign of closer film relations with China. More interesting than the character studies is the atmosphere depicted, capturing the way of life that existed before events brought radical change. One gets a picture of the Wu world, with its power and limitations. Much of this is embodied in the subservience to Madame Wu's dominating mother-in-law, played by Anita Loo. The winds of change are reflected in the decision of Madame Wu's son to go off and join the Communists after his love for his father's concubine is thwarted and she is sent away.
There's plenty happening, but the film never rises to the level of strong drama despite the hand-wringing and efforts to make it into an epic. A Universal Focus release.
|