CONCUBINE OF SHANGHAI (aka LORD OF SHANGHAI II) (2020) review

p2618059405In 2017, Sherwood Hu released part one of a diptych based on a 2003 novel by Hong Ying: Lord of Shanghai. The concurrently-shot second part, Concubine of Shanghai, was to be released a few weeks later, but Lord‘s box office flop led to a delay of more than three years, with Concubine debuting straight on VOD in late 2020. Lord of Shanghai was a clumsy, occasionally shoddy gangster epic, kept afloat by the charisma of esteemed actors like Hu Jun and Yu Nan, but hurtling through event, as if existing just to set up its epic conclusion. Concubine of Shanghai, sadly, only compounds the flaws of its opener. It picks up ten years later: Xiao Yuegui (Yu Nan), is now the powerful concubine of powerful Shanghai mobster Yu Qiyang (Rhydian Vaughan) after having loved two previous generation of Shanghai lords, Chang Lixiong (Hu Jun) and Huang Peiyu (Qin Hao). Now, she welcomes her estranged daughter Lili (Amber Kuo) back to Shanghai, but the young woman, dreaming of movie stardom, gets involved with a director (Duan Bowen) who may not be what he seems.

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An Interview with Composer Elliot Leung

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To call Elliot Leung an overnight sensation would be incorrect, as it would be ignoring several years of praised work in video game, advertisement and documentary music. And yet there is indeed something meteoric about his arrival in the A-List of Chinese film composers: his thrilling score for Dante Lam’s spectacularly successful Operation Red Sea – now second only to Wolf Warrior II on the list of highest-grossing movies in China and still the fifth highest-grossing film worldwide for 2018 – marks the beginning of a promising big screen career, with no less than four high-profile films already on his dance card. A busy schedule in spite of which he graciously agreed to answer our questions.

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