A scene where three women have a sleepover and discuss how they are going to kill a General is basically my ideal cinema
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Peking im Jahr 1913, kurz nach der Revolution. Yun Cao, Tochter eines mächtigen Generals und Mitglied einer Widerstandsgruppe, will ihrem Vater ein Dokument entwenden, das Verschwörungspläne gegen die Republik enthält. Auf ihrer Flucht vor der Polizei landet Yun Cao in der Peking-Oper. Dort verbündet sie sich mit einer diebischen Sängerin und der Tochter des Theaterdirektors. Eine verwegene Jagd durch die Kulissen beginnt.
Heute keine Spielzeiten für Peking Opera Blues in Los Angeles.
A scene where three women have a sleepover and discuss how they are going to kill a General is basically my ideal cinema
The theater backdrop and its own set of internal rules are a perfect setting for an intersection of revolutionary politics and gender roles. Everyone is engaged in one kind of performance or another, and even the action scenes hurtle through the levels of the set. This movie is just constantly exposing new layers and reconfiguring itself.
Agitpop cinema. Let's put a show, kill the general, and bringing down the order (and some genre/gender barriers along the way). Tsui of nationalistic awe and punk suspicion at tradition (here in the figure of the Peking Opera inside the text and the multiple East/West cultural references throughout). Tsui and Oswald de Andrade would have a lot to talk of cultural anthropophagy and imperialism. Climax includes the best imagined version of the Odessa steps scene.
Set in 1913 Beijing, three women from different walks of life cross paths and entangle themselves in a high-stakes conspiracy involving political corruption and the local opera house.
It was directed by renowned filmmaker Tsui Hark in 1986 as a defining work of Hong Kong cinema.
While it did not sweep major Western ceremonies, it remains widely celebrated by critics and audiences as a classic masterwork of its era.