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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Σκηνοθεσία Tsui Hark
Peking Opera Blues
Θρυλική, διαχρονική ταινία δράσης
Στο Πεκίνο του 1913, τρεις δυναμικές γυναίκες -η μεταμφιεσμένη επαναστάτρια Τσαο Βαν, η κυνηγός θησαυρών Σιουνγκ Χουνγκ και η κληρονόμος της όπερας Παι Νιου- ξεκινούν μια τολμηρή αποστολή γεμάτη ίντριγκες και προδοσία, αμφισβητώντας κοινωνικούς κανόνες εν μέσω πολιτικής αναταραχής και του ζωντανού κόσμου της Όπερας του Πεκίνου.
Δεν υπάρχουν προβολές της «Μπλουζ της Όπερας του Πεκίνου» στην πόλη Λος Άντζελες σήμερα.
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.