Review: The visuals in Zhang Yimou’s 'Shadow' are eye-popping. The story falls a little flat.
Deng Chao in “Shadow.” By Michael O'Sullivan Michael O'Sullivan Film critic and reporter covering movies and the people who make them Email Bio Follow Reporter May 7 at 9:00 AM Rating:
Of art direction and cinematography, certainly. Designed in a palette of foggy gray tones, ranging from white smoke to dark charcoal, and with the only dashes of color coming from flushed skin, spilled blood and candle flames, the story of a warrior and his body double is a gorgeous thing to behold — all visual yin and yang, to echo the theme of duality.
Those characters include, in addition to the aforementioned warrior — gravely wounded and in hiding as the story opens — and his healthy alter ego: that warrior’s wife , who is falling in love with her husband’s “shadow”; their young and dissolute king ; and the ruler of an enemy people , who presides over a contested city and a precarious truce between the two tribes.
Make that men. Deng delivers two strong, well-rounded performances as a dying hero and his rising protegee/slave, even if there is an air of the fairy tale to the action. Zhang and his co-writer, Li Wei, for instance, frequently forgo names, referring to characters as “Commander” and “Madam” in a narrative that often feels like it’s populated by two-dimensional types instead of real people.
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