"Everlasting Regret," Stanley Kwan's love song to Shanghai, is one of those films that suffers from an identity crisis and ultimately, doesn't add up to the sum of its parts. Stylistically, it veers from Sirkian melodrama to Godard-esquire detachment. It's beautiful to look at, and sensually composed, evoking the much superior "In the mood for love" by Wong Kar-Wai. Still, by the end of the film, the melodrama becomes arbitrary, and the audience is left feeling cold. The excellent performances almost rise above it all, leading one to wonder what the film would be like if Kwan had more assurance in his directing, and faith in his characters.
Plot summary
A person's life is destined to be shorter than that of a city. Having spent her whole life in Shanghai, Qiyao has her moments of prosperity and her fair share of loneliness. She finally fades and disappears but Shanghai remains a metropolitan city. Shanghai in the 1930s is glamorous and seductive. A pretty young girl from an ordinary family, Qiyao is lucky enough to win the 2nd runner-up of the "Miss Shanghai" contest. Mr. Cheng, her admirer as well as a photographer who assists her to her success, knows the girl is going to live an extraordinary life. It turns out she is going to witness the decades of changes to her city. 1948, Officer Li, an official in control of the army, keeps her as his lover. During the time, she spends her life at the Parliament ballroom, accompanies him through dangerous situations, and tries to devote all of herself to a man she believes she can spend the rest of her life with. But one day, he disappears and does not return. She never gets to find out the reason for his disappearance. This happens often in Shanghai at the time. In 1956, Qiyao begins to live a plain and simple life that is totally different from her glorious days. Nobody knows her past and she appears to be a young single woman. Her only friend is the married Mr. Cheng whom she keeps at a distance. But the calmness is broken when a rich young man Ming shows up. Qiyao is satisfied with Ming in every way except for his lack of courage as a man. When Qiyao finally makes a decision to marry him, Ming leaves her and goes to Hong Kong for his family business. Qiyao is alone again, but with an unborn child. She marries a sick and dying man, simply to find her child a father. Mr. Cheng is the only person who understands that she does it to regain her dignity. In 1970, grateful that the divorced Mr. Cheng has never stopped loving her, Qiyao tries to get closer to him and wants to marry him. Mr. Cheng, however, devotes himself to popular campaign that sends educated urban men to the countryside to help the rural population. He leaves for Yunnan, thinking that it will only be a year, but does not come back until ten years later. One day, Mr. Cheng returns, introducing to Qiyao a young man who is addicted to the lifestyle of old Shanghai. Regardless of the age difference, Qiyao and the young man fall in love with each other. Unfortunately, the young man secretly plans to go abroad, leaving Qiyao alone in Shanghai, just as what his predecessors have done. Qiyao finally breaks down as she realizes no one is as loyal as she is to the city where her life begins and will end.
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A beautiful, frustrating film
good mood, costumes, bad screenplay
This is a story about Shanghai, however, most of actors were from Hong Kong. And the director is also from Hong Kong, if I am not mistaken. So it certainly lacks the particular shanghai style.
The best part about this film was its furniture, settings, room decorations, music, hair styles, costumes, etc. Those all feel authentic, correlate well to the certain period of that time.
It is understandable that it is a hard to consolidate a person's entire life into a short film. However, it jumps from one period to another without any explanations. If a person knows nothing about the modern Chinese history, s/he will not be able to understand most of it. Some of the scenes were also confusing. For example, why did the protagonist's lover had to run away suddenly, etc?
Hopefully, maybe one day, some real Shanghai director will hire some real Shanghai actors to redo this film again with the real shanghai dialect.
No Crying Over Deleted Scenes?
There have been a few homages to romantic cities in the past, several remarkably similar to Stanley Kwan's new release starring Sammi Cheng as a perennial femme fatale. Now, that latter concept in itself should suffice in sending anyone following HK cinema to the hills. Sammi? Sultry screen siren?
Regardless, off the bat it becomes immediately clear Sammi's no longer Sammi. She doesn't even look like herself anymore. Previously a slacker-generation mistress of comedy, Cheng's transformation courtesy of the makeup department reveals a wider aspect of her range, particularly in portraying various ages, and later in the movie you begin to appreciate her as an older version of herself.
Not exactly the same can be said of this film in its entirety. It really wishes to be a Wong Kar Wai product mixed in with period décor and mood. Additionally, the generation-hop resembles what we've before seen in Kwan's own Center Stage, of which Everlasting Regret is practically a clone, albeit without the same zest and soul. Center Stage, with Maggie Cheung, has class and solidity enough for multiple entries, while this current romp fails to truly impress.
The story declares its love of Shanghai early on with some rather obscure and flat quote going on about "if your city is no longer your city" and so forth, an instant warning sign seeing as it seems pretentious as opposed to meaningful.
From then on, we follow Wang Qiyao (Sammi) through numerous travails dating from the late Nationalist period (1947) to circa Deng Xiaoping's reformation of mainland China (early 80's). The problem with all this is lack of a cohesive thread, as events often bounce along inexplicably, and the movie never reaches the same seamless integration a quality production aspires to provide. Consequently, viewers feel detached from their on screen counterparts, denied caring for Qiyao and her fellow characters through erratic, mundane storytelling.
Some elements of ER click into place neatly, like stage design, props and makeup. But these technical dimensions often succeed in HK films while that elusive X factor flounders by the wayside. Here it happens again as we witness the heroine grow up and ascend Shanghai's ranks of glittering celebrities. Starting with the post-WWII, pre-communist heyday, Qiyao's simple beauty and sharp, if a bit cold, personality win her the love of several men, powerful as well as down to earth and honest. On the upside, Everlasting Regret never claims its main protagonist is either good or bad, apparently opting to have third parties make that judgment.
Back to the men. There's Hu Jun as Officer Li, a government power broker that initiates Qiyao in the ways of sex, intrigue and seduction. Hu does well as always, his electricity and masculine appeal going the distance. Later, after Li vanishes as the PRC comes into being, we get excellent Tony Leung Ka Fai in a role worthy of his talent and experience. He plays Mr. Cheng, a fashion photographer responsible for discovering Qiyao in the first place. Contrary to Leung's recent embarrassment in The Myth, here he's back in form, faithfully rendering his character as it ages and matures.
The two younger males that come to dominate much of Wang Qiyao's life aren't up to standards set by their seniors, we sadly must conclude, especially Daniel Wu. This guy may be getting too prolific for his own good, as in ER little of the usual panache associated with his work makes it to the fore. Wu depicts Qiyao's lover Ming, a sensitive individual with much less backbone than money, who feels the crunch of 1950's China. While mediocre in its portrayal, this part of the feature at least sheds light on a forgotten part of history, letting us know fun and normalcy didn't come to a complete end in 1949: according to Kwan, Shanghai was still very much a party place even after Mao and crew took over.
A bit better is Huang Jue as Kela, a dashing youngster who falls for Qiyao even when the feeling's not entirely mutual. Kela symbolizes the turmoil of new China, as the country emerges from its Cultural Revolution mire and faces rekindled excitement mixed with greed, rife black markets, uncertainty and disorientation.
There are a few good female supporting roles, namely newcomer Huang Yi (Brotherhood a couple years back and a bunch of mainland martial arts soaps) as Qiyao's rebellious daughter, and Su Yan, providing input and balance as Qiyao's schoolmate and best friend Lili. Su Yan's gorgeous face buoys her along nicely, but you can't help feel her Beijing opera-esquire OTT'ness goes against the grain of straight-faced dramas.
Effectively, there's a haunting sensation pervading Everlasting Regret, as if the editing people were told to make it under 120 minutes, hence what strike us as gaps in the story. This sort of tilt results in most of the good stuff concentrated towards the end, as both Mr. Cheng and Qiyao (or Tony Leung and Sammi) showcase their true colors and shine through despite all the hurdles.
Wish we could determine the same about the film proper. Aside from good execution on the part of its cast, Everlasting Regret doesn't attain any of its goals, at least the ones evident from demeanor and construction. It's not an epic, sweeping saga transcending time and space, nor a workable tear jerker. In fact, you'd be unique if any overt emotion welled in you while watching. This also includes boredom, for although by no means a resounding success, ER likewise doesn't constitute a failure.
People with keen interest in Shanghai history may find more value in sitting down to watch it, as may be the case for Sammi nuts eager to scope their idol's evolution. For casual and seasoned movie buffs outside these two groups, Everlasting Regret presents much less of an incentive, and shouldn't take priority over other offerings as the case may be.