The Promise of a Savior
Occasional viewers of Japanese or Chinese cinema should be aware that Chen Kaige's The Promise is more fantastical than other offerings that have garnered fame in mainstream U.S. cinema. As the film opens with a young girl's conversation with a beautiful goddess, it takes a step further into the mythical realm, distinguishing it from the stylings of the popular Crouching Tiger, Hidden Dragon or the lavish Hero. A brave slave runs as fast as the comic book Flash, and magical cloaks embue powers including immortality. What is most fascinating is that Chen has drawn on some of the earliest Chinese as well as his own concerns with modern society, and painted a rich narrative canvas that feels timeless in its imagination and commentary.
Chen also has made the most expensive Chinese film to date, weighing in at $35 million. The film screened in China last December in an attempt to qualify for the 2005 Oscars, but the press was given no special screenings, and was forbidden to interview Chen or make negative comments about the film, which created quite a stir in the filmmaker's homeland. I had the opportunity to have a talk with Director Chen Kaige, and he elaborated on his feelings regarding spirituality and Chinese culture. Despite the arduous path to the big screen in both our countries—a path that perhaps mirrors the plight of the slave Kunlun in the film—I believe The Promise stands on its own two feet, though not perfectly.
Early in the film, a corpse-scavenging beggar girl meets a beautiful goddess, taking what seems at the time like a good deal. She'll never be hungry again, and she'll live in a life of material satisfaction, but she will lose anyone who truly loves her. 20 years later, however, a loveless life has left Princess Qingcheng jaded and empty. Without love, none of the things she has truly satisfy. Her expensive clothes, rich food, wealth, and fame are meaningless. The film poignantly contrasts the empty love of wealth and goods with the true love found in relationship and loving service. It is a mistake we all often make in large and small ways, despite the wise refrain found in Ecclesiastes: "Whoever loves money never has money enough; whoever loves wealth is never satisfied with his income. This too is meaningless. As goods increase, so do those who consume them. And what benefit are they to the owner except to feast his eyes on them?"
Qingcheng craves true love, but knows only a miracle will free her from the cursed life which she herself has chosen. The goddess told her that only someone who could do miraculous feats—the greatest being rising from the dead—could change her fate.
A world away, we are introduced to the quiet, humble, faithful slave Kunlun, who has crawled on his knees all his life. When he stands to carry his master and escape a stampeding herd, however, it is revealed that he can run like the wind, escaping warring soldiers as well as the cattle. The great General Guangming sees Kunlun's power and makes the young man his personal servant. When injured by an assassin, the General dresses Kunlun in his majestic crimson armor, to go ahead and stop an attempted coup on the King's throne. Kunlun arrives to see the malevolent Wuahan posturing against an equally wicked king, and actually kills the King when the man threatens the beautiful Princess Qingcheng.
The armored Kunlun risks his life for the Princess repeatedly and earns her love, but she assumes the armored man is General Guangming. The story is Shakespearean in its complexity, political manuevering, and cases of mistaken identity. The General is happy to receive Qingcheng's affection, though the killing of the king costs him his position. The goddess appears and warns the General that he will not find happiness, but he rejects her prophecies. Kunlun obviously has feelings for the Princess, but will not betray his new master. He later discovers his true past from a mysterious, cloaked assassin, and slowly realizes he may play a part in the grand design as well. Running fast is not the only miracle at his disposal. It turns out that he, Qingcheng, Guangming, and the evil Wuhuan are caught in a web of destiny linking their past, present, and future... and love will not be possible without the shedding of blood.
Director Chen Kaige's depiction of the hero coming from humble origins and of humble appearance is a classic narrative device. Just as Jesus came from a backwater town with no noble position or beauty with the humble resume of a carpenter, we see in The Promise a hero and savior that does not come as anyone expects. He is patient, humble, but ultimately stands up for what he believes to save the one he loves. The Princess represents mankind in many respects, broken and trapped and hoping for a miracle to save us from the curse we find ourselves under, unable to remedy our fated situation. Kunlun rides in with the potential to lift Qingcheng's curse and give her a new destiny... if he succeeds.
Wuhuan and the General are also classic examples of men doing what seems right in their own eyes... which only seems to get them into trouble. While Wuhuan acts openly unrepentant for wicked ways, General Guangming evinces little respect for human life and is consumed by his own greed and arrogance. The Princess' mistaken opinion of his sacrificial nature and servant's heart both work in him to evoke a change in how he perceives life and love... but that still doesn't guarantee things will end happily.
The Apostle Paul once declared that if the dead are not raised, "Let us eat and drink, for tomorrow we die." He believed, as I do, that we are like Princess Qingcheng in The Promise—under a self-inflicted curse from which there is no escape without the resurrected Jesus Christ. If Christ didn't conquer sin and death, then escaping our dark destiny is hopeless and we might as well act like Prince is cool again and party like it's 1999 (Wait, Prince IS cool again... hmmm). I think this film touches the viewer because somewhere, deep down, Kunlun's sacrifice resonates with this deep and eternal truth; blood atonement is needed for our sin; we need a savior, and that Savior must be able to champion death.
This film is worth watching for the rich characters and commentary on life. The costumes and scenery are exquisite and provide no end of sights for the cinema-goer to feast upon, even when no martial arts sequences or wire-work are keeping your brain frenzied. The computer-generated imagery in the film is weak, and a few sequences that don't feel intentionally funny look a bit comedic as a result. It's a significant flaw in what was a truly enjoyable film.
Chen also has made the most expensive Chinese film to date, weighing in at $35 million. The film screened in China last December in an attempt to qualify for the 2005 Oscars, but the press was given no special screenings, and was forbidden to interview Chen or make negative comments about the film, which created quite a stir in the filmmaker's homeland. I had the opportunity to have a talk with Director Chen Kaige, and he elaborated on his feelings regarding spirituality and Chinese culture. Despite the arduous path to the big screen in both our countries—a path that perhaps mirrors the plight of the slave Kunlun in the film—I believe The Promise stands on its own two feet, though not perfectly.
Early in the film, a corpse-scavenging beggar girl meets a beautiful goddess, taking what seems at the time like a good deal. She'll never be hungry again, and she'll live in a life of material satisfaction, but she will lose anyone who truly loves her. 20 years later, however, a loveless life has left Princess Qingcheng jaded and empty. Without love, none of the things she has truly satisfy. Her expensive clothes, rich food, wealth, and fame are meaningless. The film poignantly contrasts the empty love of wealth and goods with the true love found in relationship and loving service. It is a mistake we all often make in large and small ways, despite the wise refrain found in Ecclesiastes: "Whoever loves money never has money enough; whoever loves wealth is never satisfied with his income. This too is meaningless. As goods increase, so do those who consume them. And what benefit are they to the owner except to feast his eyes on them?"Qingcheng craves true love, but knows only a miracle will free her from the cursed life which she herself has chosen. The goddess told her that only someone who could do miraculous feats—the greatest being rising from the dead—could change her fate.
A world away, we are introduced to the quiet, humble, faithful slave Kunlun, who has crawled on his knees all his life. When he stands to carry his master and escape a stampeding herd, however, it is revealed that he can run like the wind, escaping warring soldiers as well as the cattle. The great General Guangming sees Kunlun's power and makes the young man his personal servant. When injured by an assassin, the General dresses Kunlun in his majestic crimson armor, to go ahead and stop an attempted coup on the King's throne. Kunlun arrives to see the malevolent Wuahan posturing against an equally wicked king, and actually kills the King when the man threatens the beautiful Princess Qingcheng.The armored Kunlun risks his life for the Princess repeatedly and earns her love, but she assumes the armored man is General Guangming. The story is Shakespearean in its complexity, political manuevering, and cases of mistaken identity. The General is happy to receive Qingcheng's affection, though the killing of the king costs him his position. The goddess appears and warns the General that he will not find happiness, but he rejects her prophecies. Kunlun obviously has feelings for the Princess, but will not betray his new master. He later discovers his true past from a mysterious, cloaked assassin, and slowly realizes he may play a part in the grand design as well. Running fast is not the only miracle at his disposal. It turns out that he, Qingcheng, Guangming, and the evil Wuhuan are caught in a web of destiny linking their past, present, and future... and love will not be possible without the shedding of blood.
Director Chen Kaige's depiction of the hero coming from humble origins and of humble appearance is a classic narrative device. Just as Jesus came from a backwater town with no noble position or beauty with the humble resume of a carpenter, we see in The Promise a hero and savior that does not come as anyone expects. He is patient, humble, but ultimately stands up for what he believes to save the one he loves. The Princess represents mankind in many respects, broken and trapped and hoping for a miracle to save us from the curse we find ourselves under, unable to remedy our fated situation. Kunlun rides in with the potential to lift Qingcheng's curse and give her a new destiny... if he succeeds.Wuhuan and the General are also classic examples of men doing what seems right in their own eyes... which only seems to get them into trouble. While Wuhuan acts openly unrepentant for wicked ways, General Guangming evinces little respect for human life and is consumed by his own greed and arrogance. The Princess' mistaken opinion of his sacrificial nature and servant's heart both work in him to evoke a change in how he perceives life and love... but that still doesn't guarantee things will end happily.
The Apostle Paul once declared that if the dead are not raised, "Let us eat and drink, for tomorrow we die." He believed, as I do, that we are like Princess Qingcheng in The Promise—under a self-inflicted curse from which there is no escape without the resurrected Jesus Christ. If Christ didn't conquer sin and death, then escaping our dark destiny is hopeless and we might as well act like Prince is cool again and party like it's 1999 (Wait, Prince IS cool again... hmmm). I think this film touches the viewer because somewhere, deep down, Kunlun's sacrifice resonates with this deep and eternal truth; blood atonement is needed for our sin; we need a savior, and that Savior must be able to champion death.This film is worth watching for the rich characters and commentary on life. The costumes and scenery are exquisite and provide no end of sights for the cinema-goer to feast upon, even when no martial arts sequences or wire-work are keeping your brain frenzied. The computer-generated imagery in the film is weak, and a few sequences that don't feel intentionally funny look a bit comedic as a result. It's a significant flaw in what was a truly enjoyable film.
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