Rouge

Rating: FULL SKULL BABY! FULL SKULL BABY! FULL SKULL BABY! FULL SKULL BABY! empty skull, sniff.
Release Date: 03 April, 2001

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Rouge Reviews


Rouge is no Rogue FULL SKULL BABY! FULL SKULL BABY! FULL SKULL BABY! FULL SKULL BABY! FULL SKULL BABY!
A beautiful, sad, sad movie. This movie won lots of awards (5) in Hong Kong in 1987 and makes the Chinese Ghost Story trilogy (which I liked and also star Leslie Cheung) seem positively silly. This is a touching movie, with a perfect ending, I think. (And when is the last time you could say that about a movie?) Any women who want to know whether their guy is worth keeping should put him in front of this and see how quick he proposes.

I am a guy however, and I admit I picked up this movie to see Anita Mui. Her performance here is superb. She is most gorgeous in her scenes without make-up. Stunning. I don't know how I have missed her films all these years, but it is a joy to discover them.

The juxtaposition between past and present is well conceived and implemented, and the movie flows seemlessly.

I know this cost almost twice as much as an American film - but hey - you only live once. Spend the money.

Ultimately beautiful FULL SKULL BABY! FULL SKULL BABY! FULL SKULL BABY! FULL SKULL BABY! FULL SKULL BABY!
The prostitute Ruhua fell in love with Chen Zhenbang from a rich family, but the Chen's family opposed their marriage. Chen decided to leave his family and stayed with Ruhua. But the cruelty of life without the ability and endurance to make a living soon follows. Half a year later, they decided to commit suicide together and promised to stay together in another world. After her death, Ruhua could not find Chen, but she refused to drink the Mengpo soup to forget the past so that she could reincarnate. After 53 years of waiting, she went back plaintively to look for him. But in the end, she found Cheng Zhengbang was still alive and had become a mumbling lowlife old man. Disappointed with his cowardice, she returned him the rough box that she wore for 53 years and left calmly.

The screenplay writer Lillian Lee (also the author of the original novel) often writes in a rather less elegant tone. Never a perfect love story with a faithful couple, but rather one-sided with a determined prostitute, radical about love and a dandy from a rich family with a coward deep inside his heart. But with Lee's extremely versed cultural knowledge and somewhat rebellious style (but not for the sake of just being rebellious), the storytelling always turns out to be poignantly enthralling. Stanley Kwan weaved it so well in every detail without destroying the fluency of the movie or the fluency of my feeling throughout the movie. Artistical without affectation; masterful without pretentiousness, this one easily falls into my favorite type.

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