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The funny thing about the Chinese heroines with the funny English can be forgotten, as you really have to be a particular geek to care about this kind of intra-Asian jealosy games. What I think is the important part about it is that the fact that the film-makers decided to cast people without sufficient profciency in the English language – and then did decide not to dub them. It is completely odd to listen to these Japanese  people talking to each other trying to get a grip on the language of their invadors-to-be. The film lost quite a bit of its atmosphere to me because of this.

All in all, you cannot call it a masterpiece, anyway.  The story is straightforward in a way, without more than the expected twists of faith that happen when you dwell into life in the first half of the 20th Century. Admittedly, I was caught a wee bit by surprise when, in the middle of the movie, I realised what the time of the story actually is. I guess I was a bit unconcentrated at the beginning, so the facts passed by without notice and if you had told me that we are in mid-18th century, I would have believed it (I probably would have belived mid-12th century…). And I cannot but wonder whether the supposedly brilliant book would not have deserved a more inspired film-maker and story-teller than Rob Marshall – the man who brought us … Chicago… well. It must be a bit like the Harry Potter phenomenon: you take some bits and pieces out of a larger structure, then glue it together by means of film – and you end up surprised why it lost its magic and where has all the money gone. Into production design, in this case, which is, of course, very nice to look at, and actresses’ salary, who are, surprisingly, not too spectacular in their appearance or performance. Partly, I guess, because Zhang ZiYi is not as cute as she used to be. Never mind. It is, and that is always unfotunate to say, just what you would supposed you would get. Lavislhy decorated bit a not very much. 

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