‘An Asian Troy’ is how John Woo describes the Manichean power struggles that gripped China at the end of the Han Dynasty, as recounted in the 14th-century literary classic Romance of the Three Kingdoms. Woo’s film Red Cliff focuses on just one of the episodes in that expansive saga, the decisive battle of the title, in which an ad hoc alliance of provincial rulers fend off invasion, against all the odds, from a ruthless warlord eager to annex their territories.
Woo’s first film in China for almost two decades, and his first for the state-run China Film Group Corporation in Beijing, it is the country’s most expensive production ever, with an $80 million budget part-funded from Japan, Taiwan and South Korea. It’s easy to see where the money has gone: with art direction from Timmy Yip (Crouching Tiger, Hidden Dragon) and visual effects from Californian studio the Orphanage, in terms of sheer spectacle Red Cliff easily out-trumps even Zhang Yimou’s recent period epics.
That Woo has managed to pull off such an undertaking is as much due to the exalted pedigree of the source material as to his status as arguably the most influential action director to emerge from Asia. The various episodes and vast pantheon of princesses, scheming politicians and military tacticians of which Romance of the Three Kingdoms is comprised are well known across South-East Asia and have been celebrated in a variety of media, from films and manga to videogames (another take on the material, Daniel Lee’s Three Kingdoms: Resurrection of the Dragon, pre-empted Woo’s film by a couple of months). The story probably won’t be so familiar to western audiences, hence the decision to edit the two separately released instalments distributed in Asia into a standalone 150-minute international version. The resulting film doesn’t bear too many scars from the truncation, but inevitably it’s the three lavishly constructed battles, crammed full of Woo’s trademark gravity-defying gymnastics and slow-motion sequences choreographed by Corey Yuen (The Transporter, X-Men), that dominate proceedings. Red Cliff doesn’t waste any time getting into the thick of things, with despotic warlord Cao Cao’s sacking of the kingdom of Xu commencing in the first reel.
Woo has stated that his goal for the film was to strip away the mythologising of the novel and get back to its historical basis, as chronicled at the time. To what extent he has achieved this has been the subject of some debate: the director freely admits to borrowing certain scenes from his fictional source, such as the standout sequence in which the alliance’s chief strategist Zhuge Liang dispatches a fleet of barges mounted with straw dummies to draw the fire of Cao Cao’s naval battalion. In attempting to create an Asian blockbuster in the Hollywood mould, Woo has retained his cinematic verve, resulting in lingering images such as the scenes of the tomboyish Princess Sun Shangxiang leading Cao Cao’s cavalry into a sandstorm to be skewered by a hail of arrows, or the awe-inspiring single take of the camera levitating from Cao Cao’s face as he stands on deck and tracking over his fleet as it floats ominously down the Yangzte Gorge. If the mano-a-mano that seals Cao Cao’s fate at the finale comes across as a little underwhelming, it’s only due to the sheer virtuosity of what precedes it. Red Cliff is seldom short of breathtaking.
Jasper Sharp, Sight and Sound, July 2009
Best known for Hong Kong thrillers such as Hard Boiled and high-end Hollywood actioners Face/Off and Mission: Impossible II, John Woo has gone ‘back’ to China for his Mandarin-language historical epic Red Cliff. Released in the UK as a 145-minute version, cut down from its 290-minute totality, the film is set in 208 AD, when two minor Chinese kingdoms joined forces to defeat a powerful imperial prime minister of sinister disposition. Its production was dogged by accidents and disasters: a stuntman was killed, key actors and the cinematographer departed, and the shoot overran. Most of these problems Woo puts down to attempting to make a Hollywood-style movie without the infrastructure to support it. ‘I had to put a lot of time and money aside for training,’ he says.
Back in 2004, Woo recalls, he was asked to help the movie business in China. He decided there was only one way to do this: to make a movie there. Where he found shortfalls in skills, he would train people up. ‘Chinese movies are changing and I wanted to do something for the young people,’ he says. ‘I wanted the young people to learn the Hollywood experience, to use new equipment, experience new systems.’ One thing in his favour, though, was that at least everyone he employed already knew the story of the film. The famous set-piece battle that forms the core of the film was immortalised 700 years ago in the novel Romance of the Three Kingdoms, and is known all over Asia via videogames and Manga comics. Woo recognised that the storyline conformed to Hollywood traditions – the idea of people who team up together against overwhelming odds and defeat an evil centralising power is at the heart of many a Western. He was keen to strip away supernatural and fanciful aspects of the story and go back to basics.
One of the biggest problems he had to face early on was the departure of Chow Yun-Fat from the lead role only weeks before the movie went into production. Various versions of events appeared on the net: a US insurance company rejected 73 clauses of Chow’s contract; Chow didn’t like being sent a final script with only days to prepare. When asked, Woo doesn’t beat around the bush: ‘His agent was asking for more money.’
In the event Tony Leung, who had earlier been cast and then left the project, came back on board to play Chow’s abandoned role. ‘Tony Leung called me up to comfort me,’ recalls Woo. ‘I asked him to come back on board the film and he did.’ Having made three films together, Leung was someone he could trust. ‘He’ll never leave a set, no matter how hard it is, however tired he is,’ says Woo. ‘When I was busy working on the big scenes he was helping me take care of other actors. I also think he’s getting more charming as he gets older.’ With its complex financing from Japan and America, as well as South Korea, China and Taiwan, the film took eight-and-a-half months to film in over 14 provinces. There were six film units. ‘In America you work five days and then take the weekend off,’ says Woo, ‘but in China everyone works seven days a week.’ This isn’t necessarily an advantage: ‘People didn’t get enough rest,’ he adds. One thing Woo enjoyed, though, was the simplicity of the command structure. ‘In Hollywood it takes a lot of time to make a new decision. In China I just made the decision – I didn’t have to go to a meeting with a producer.’ He also enjoyed commanding 2,000 troops from the Chinese army. Do all directors have a secret yen to command armies, I ask him? ‘Oh yes,’ he laughs.
Logistically the shoot was like a military campaign. Though Woo’s not keen to talk about the bad things that happened – including the death of a stuntman in a freak accident in 2008 – he insists he never lost faith that the film would be finished; his ‘very strong will’ is something he attributes to his Hong Kong upbringing. Despite talk of the film being unlucky, it was well reviewed (Variety claims Woo has got his ‘mojo’ back), and has made money. Woo says he misses Hong Kong and would like to go back and make a film there: ‘A swordplay movie – I’d make it in a studio, because locations are so hard to use there now.’ His next film, however, will be another costume drama, a ‘Romeo and Juliet story’ set in mainland China, in Lu’an. On the horizon after that is a hommage to one of his directing idols, Jean-Pierre Melville. His love for Melville’s 1970 heist movie Le Cercle rouge is on record, but now he has another Melville film his sights. ‘One of my plans is to remake Le Samouraï,’ he reveals. ‘We are looking for the writer to work on that project. It’s one of my great ambitions.’
By Roger Clarke, Sight and Sound, July 2009
RED CLIFF (CHI BI)
Directed by: John Woo
©/Author: Three Kingdoms Limited
Production Company: Lion Rock Productions
Presented by: China Film Group Corporation, Avex Entertainment Inc., Chengtian Entertainment International Holdings Lim, CMC Entertainment, Showbox, John Woo
Executive Producers: Han Sanping, Masato Matsuura, Kebo Wu, Ryuhei Chiba, Dennis Wu, Jeonghun Ryu, John Woo, Hu Xiaofeng
Produced by: Terence Chang, John Woo
Co-producers: Anne Woo, Yeh Jufeng, Cheri Yeung, David Tang, Wang Wei, Daxing Zhang
Line Producers: Hu Xiaofeng, Rick Nathanson, Mitchell Dauterive, Liu Er Dong, Ivan Wong, Fan Kim Hung
Associate Producers: Lori Tilkin, Todd Weinger, Sirena Siru Liu, Wei Wang
Unit Production Managers: Wang Yue, Wong Po Wai, Cheung Chun Keung
Key Production Managers: Yang Dong, Lu Sen, Ma Wenhua
Production Managers: Xiao Li, Janet Chan, Li Jun, Leng Huan Jun, Qu Lu Jun, Cui Min Jie, Liu Zhi Hua
Financial Controller: Roger Lee
Post-production Supervisor: Angie Lam
2nd Unit Director (Battle Sequence Unit): Zhang Jinzhan
2nd Unit Director (Action Unit): Corey Yuen
2nd Unit Director (Naval Unit): Patrick Leung
1st Assistant Directors: Thomas Chow, Richard L. Fox, Lo Kim Wah, Wu Xi Guo, Qiao He Ping
Screenplay by: John Woo, Chan Khan, Kuo Cheng, Sheng Heyu
Director of Photography: Lu Yue, Zhang Li
Close Range Aerial Filming: Flying-Cam Inc
Camera Operators: Wang Tianlin, Xu Wei, Xie Ze, Si Guo Yi, Zheng Yi, Huang Wei, Wang Min, Li Ran, Li Chao Feng
Camera Operator (Flying-Cam): Quincy Sze Kwan Chong
Steadicam Operators: Chen Zhu Xiang, Liu Ai Dong
Chief Gaffer: Ji Jianmin
Visual Effects Supervisor: Craig Hayes
Visual Effects by: The Orphanage LLC, CafeFX, Pixel Magic, Anibrain, Xing Xing Digital Corp., Make Inc., Crystal CG, Frantic Films, RedFX, Digital Dimension
Matte Paintings by: Hatch
Special Effects: Demolition, 37.2, Hanil Engineering
Pyrotechnicians: Bai Cun Ping, Zhao Jia Sheng
Edited by: David Wu, Angie Lam, Hong Yu Yang
2nd Unit Editor: Liu Fang
Visual Effects Editors: Monica Anderson, Sharon Smith Holley
Production Design: Tim Yip
Art Director: Eddy Wong
Set Designers: Yang Zhan Jia, Chen Hao Zhong
Property Masters: Cheng Chak Wing, Li Bao Tai
Costume Design: Tim Yip
Make-up Artists: Kwan Lee Na, Liu Jian Ping
Special Effects Make-up: Mage
Hairstylists: Chau Siu Mui, Wai-Hing Lau
Main Title Design: yU+co.[hk]
Music by: Taro Iwashiro
Chinese Zither Composer: Tang Jian Ping
Performed by: Tokyo Metropolitan Symphony Orchestra
Solo Japanese Transverse Bamboo Flute: Michiko Akao, Hyakushichi Fukuhara
Conducted by: Taro Iwashiro
Supervising Sound Designer (Soundfirm): Steve Burgess
On-set Sound Recording: Wu Jiang, Wen Bo
Sound Mix by: China Film Group Digital Film Production Base Co.
Sound Post-production by: Soundfirm (Sydney), Soundfirm Beijing Co. Ltd.
Sound Post Co-ordinator: Geng Ling, Emma Long, Sarah Kong, JB Lai
Stunt Supervisor: Dion Lam
Stunt Co-ordinators: Guo Jian Yong, Sang Lin
Art Department Consultant: Tien-tsung Ma
Stunt Unit Choreographers: Xiao He Wen, Du Pei Jun
Cast
Tony Leung (Viceroy Zhou Yu)
Takeshi Kaneshiro (Kongming, ‘Zhuge Liang’)
Zhang Fengyi (Prime Minister Cao Cao)
Chang Chen (Sun Quan)
Zhao Wei (Sun Shang Xiang)
Hu Jun (Zhao Yun)
Shidou Nakamura (Gan Xing)
Chiling Lin (Xiao Qiao)
You Yong (Liu Bei)
Hou Yong (Lu Su)
Tong Da Wei (Sun Shu Cai)
Song Jia (Li Ji)
Ba Sen Zha Bu (Guan Yu)
Zang Jin Sheng (Zhang Fei)
Zhang Shan (Huang Gai)
Wang Hui (Cao Hong)
Xie Gang (Hua Tuo)
Shi Ziao Hong (Jiang Gan)
Xu Feng Nian (Zhang Liao)
Guo Chao (Yue Jin)
Hu Xiao Guang (Xia Hou Jun)
Cui Yu Gui (Xu Chu)
Jiang Tong (Li Tong)
Ma Jing (Wei Ben)
Yi Zhen (Cai Mao)
Jia Hong Wei (Zhang Yun)
Zhao Cheng Shun (Xun You)
Wang Zao Lai (Cheng Yu)
Wang Ning (Emperor Han)
Wang Qing Xiang (Kong Rong)
Li Hong (Lady Gan)
He Yin (Lady Mi)
Wang Yuzhong (Cheng Pu)
Meng He Wu Li Ji (Guan Ping)
Sun Xing Yu (shepherd boy)
Ma Jing Wu (old fisherman)
Ye Hua (Tian Tian)
Chen Chang Hai (Qin Song)
Zhang Yi (Zhang Zhao)
Wu Qi (Gu Yong)
Fu Xiang Rui (baby A Dou)
He Feng (Man Tun)
Li Hong Chen (soldier)
Virgin Islands-UK-USA-People’s Republic of China- Japan-Taiwan 2009
145 mins
Digital
ART OF ACTION: CELEBRATING THE REAL ACTION STARS OF CINEMA
John Woo Focus
Broken Arrow
Wed 23 Oct 20:50; Thu 14 Nov 20:40; Sun 24 Nov 18:10
Red Cliff Chi bi
Sat 2 Nov 14:10; Mon 11 Nov 17:40
Red Cliff II Chi bi: Jue zhan tian xia
Sat 2 Nov 17:20; Tue 19 Nov 17:55
Face/Off
Sat 9 Nov 17:30; Mon 25 Nov 20:20
Hard Target
Sun 24 Nov 13:00; Wed 27 Nov 18:20 (+ intro by Ti Singh, BFI FAN season producer)
Big Screen Classics: The History of Action
Safety Last! + One Week
Mon 21 Oct 14:30; Tue 5 Nov 20:30; Sat 30 Nov
Mad Max 2: The Road Warrior
Mon 21 Oct 18:20; Wed 27 Nov 20:50
Seven Samurai Shichinin no samurai
Mon 21 Oct 18:30; Sun 3 Nov 13:30; Sun 10 Nov 11:45; Sun 24 Nov 14:30
Hell Drivers
Tue 22 Oct 18:15; Thu 14 Nov 12:20; Sat 16 Nov 20:40
The Thief of Bagdad
Wed 23 Oct 14:30; Thu 31 Oct 12:20; Sat 9 Nov 12:30
Goldfinger 60th anniversary screenings
Wed 23 Oct 18:20 (+ intro by season programmer Dick Fiddy); Sun 10 Nov 18:40; Sat 23 Nov 18:20
Bullitt
Wed 23 Oct 20:40; Sun 3 Nov 16:25; Thu 21 Nov 14:30; Tue 26 Nov 20:45
The Mark of Zorro
Thu 24 Oct 14:30 (+ intro by Bryony Dixon, curator, BFI National Archive); Sat 2 Nov 11:45; Sat 23 Nov 15:00
Enter the Dragon
Thu 24 Oct 20:45; Fri 1 Nov 14:40; Mon 4 Nov 20:50; Wed 13 Nov 18:10 (+ intro by film critic Katie Smith-Wong); Mon 18 Nov 14:30
Crouching Tiger, Hidden Dragon
Wo hu cang long Fri 25 Oct 20:35; Sun 3 Nov 11:00 BFI IMAX; Fri 8 Nov 12:20; Mon 11 Nov 18:00; Wed 27 Nov 18:10 (+ intro)
Battleship Potemkin Bronenosets Potyomkin
Sat 26 Oct 13:20; Thu 7 Nov 20:55; Tue 12 Nov 14:30
Captain Blood
Sun 27 Oct 12:45; Wed 6 Nov 18:10 (+ intro)
The Train
Sun 27 Oct 17:45; Sat 2 Nov 20:25
Taxi
Mon 28 Oct 18:30; Fri 22 Nov 18:20; Mon 25 Nov 20:50
Three the Hard Way
Wed 30 Oct 18:15 (+ intro by Ti Singh, BFI FAN season producer); Thu 7 Nov 12:30; Sun 17 Nov 16:10
Police Story Ging chaat goo si
Fri 15 Nov 18:00 (+ panel discussion with Action Xtreme); Tue 19 Nov 20:55; Thu 28 Nov 18:20
District B13 Banlieue 13
Wed 20 Nov 18:20 (+ intro by Chee Keong Cheung, writer, director, producer and CEO of Action Xtreme); Fri 29 Nov 20:45
With thanks to
A BFI FAN initiative supported through National Lottery
SIGHT AND SOUND
Never miss an issue with Sight and Sound, the BFI’s internationally renowned film magazine. Subscribe from just £25*
*Price based on a 6-month print subscription (UK only). More info: sightandsoundsubs.bfi.org.uk
BFI SOUTHBANK
Welcome to the home of great film and TV, with three cinemas and a studio, a world-class library, regular exhibitions and a pioneering Mediatheque with 1000s of free titles for you to explore. Browse special-edition merchandise in the BFI Shop.We're also pleased to offer you a unique new space, the BFI Riverfront – with unrivalled riverside views of Waterloo Bridge and beyond, a delicious seasonal menu, plus a stylish balcony bar for cocktails or special events. Come and enjoy a pre-cinema dinner or a drink on the balcony as the sun goes down.
BECOME A BFI MEMBER
Enjoy a great package of film benefits including priority booking at BFI Southbank and BFI Festivals. Join today at bfi.org.uk/join
BFI PLAYER
We are always open online on BFI Player where you can watch the best new, cult & classic cinema on demand. Showcasing hand-picked landmark British and independent titles, films are available to watch in three distinct ways: Subscription, Rentals & Free to view.
See something different today on player.bfi.org.uk
Join the BFI mailing list for regular programme updates. Not yet registered? Create a new account at www.bfi.org.uk/signup
Programme notes and credits compiled by Sight and Sound and the BFI Documentation Unit
Notes may be edited or abridged
Questions/comments? Contact the Programme Notes team by email