|  | Review by Kozo:
 | Clocking 
                          in at 144 minutes, this epic-length historical drama 
                          is compelling in that it features a vital part of Chinese 
                          history, but distant in that it doesn’t allow us to 
                          emotionally connect with any of the historical figures. 
                          Michelle Yeoh is Soong Ai-Ling, who married H. H. Kung 
                          (Jiang Wen), the richest man in China and later the 
                          Finance Minister to Chiang Kai-Shek (Wu Xing-Guo). Chaing 
                          married Soong sister May-Ling (Vivian Wu), shortly before 
                          embarking on his iron reign of China and Taiwan. The 
                          third sister is Ching-Ling, played by Maggie Cheung, 
                          who married Sun Yat-Sen (Winston Chao), the father of 
                          China’s nationalist party. Politics plays a huge part 
                            in the film’s story. The struggle for China to gain 
                            its identity is the backdrop for the squabbles among 
                            the Soong siblings and their respective husbands. The 
                            question is: who should we root for? Depending on what 
                            political affiliation you have, different figures may 
                            be more revered than others (if you’re a Communist then 
                            Ching-Ling’s your gal, but if you’re a Nationalist you’d 
                            have to go with May-Ling). The film’s point-of-view 
                            is drastically muted, and as a result it's difficult 
                            to find the film compelling. Sure, history matters, 
                            but if emotion is lost in the proceedings you might 
                            as well crack open a book. Part of this could be attributed 
                            to the film’s massive censorship, which featured five 
                            months for script approval and lots of cuts to placate 
                            the big guys in China. Considering The Return, the cuts 
                            are politically sensible, but the film suffers ultimately. 
                            The performances are fine, but without an emotional 
                            anchor, the whole exercise seems to drift endlessly. 
                            This is a good history lesson, but not a potent human 
                          drama. (Kozo 1997) |  |