Review: Known primarily in the U.S. for the outrageous kung fu films they produced, the Shaw Brothers’ studios also managed to pump out films in just about every other genre imaginable. Inside the Forbidden City is oft-revered as their ultimate “huangmei opera” costume drama, and is based on an old Sung Dynasty story which takes place during the period of Emperor Jen Tsung. The tale which unfolds here is as classic as can be, and ripe with colorful characters and some beautiful music.

The first and foremost noteworthy aspect is the costume and stage design. True to Shaw Brothers fashion, this film excels in all regards relating to the costumes worn and the locations ranging from a hermit-like cave to lush royal palaces. It comes as no surprise, though, as this is an incredibly vital characteristic of Chinese operas and costume dramas. It also seems to be a Shaw staple to create lavish sets that capture the imagination in both their creativity and their effectiveness.

One thing that might turn people off from trying out a huangmei opera in the first place would be an aversion to musicals in general. It should be said, however, that these films and the stage plays that they represent are drastically unlike the typical musical an average moviegoer may have in mind. They eschew fancy song numbers and dance routines in favor of more subdued and personal songs that merely act to advance the narrative. Many characters engage in musical soliloquy in efforts to concrete their dilemma and question the situation. Other instances worthy of song are grand announcements or entrances, central conflicts coming to a rushing climax and other key moments of the story.

Truth be told, the singing in this film seems few and far between. I was relating this movie, while I was watching it, to an old Chinese Opera video we had to watch in class last year. It was called “Legend of White Snake” (Not the band, though that would have been nothing less than astounding), and despite having this epic final battle between the demons, I recall it being liberally peppered with songs in most every scene. Such is not the case with Forbidden City, so newcomers to the genre needn’t be too wary prior to seeing this.

Inside the Forbidden City’s story, with the exception of a few select areas, is one of sorrow and separation. Li Zhenfei is a mother doomed to seclusion and fated never to act as protector of her child, who has been written out of her life and claimed as the child of another. The leading lady’s plight is further accentuated when she is allotted a brief meeting with her son, as he brazenly entered the corridors of his mother’s forbidden area, despite direct commands to steer clear. The child is full of questions, none of which Li can answer with complete truth. Spilling the beans would probably result in her death, though the fate she is resigned to is arguably worse.

The narrative of the story actually begins with an age-raddled Li Zhenfei living in a cave, far from society. She relays her story to the passing Bao Zhen, adorned in bold makeup and togged up in ornate clothing. He agrees to hear her out, and what he heeds is the aforementioned tale of betrayal, a story of competition for one man’s (the Emperor) affection that ended her in ruin. The story told leaves Bao Zhen in awe, finding it hard to believe that such a betrayal could happen within the confines of the palace. He vows to uncover the lies within and set everything right for Li.

Kao Li’s direction is careful and well paced, letting the story settle into it’s own, and giving proper introduction to each character, preventing confusion. It’s much more akin to the flow of an actual live Chinese opera, complete with long static shots that provide the actors center stage. The performances, especially Ivy Ling Po’s, are well executed in a classic fashion, and are for the most part engaging and memorable.

If anything, the story’s conclusion leaves a bit to be desired. Perhaps a story with such a cold-hearted woman as Li Zhenfei’s rival Madame Liu needs more of a payoff in the end. Li’s situation is so dire and she does such a good job making the audience feel for her, that the latter part of the movie seems a bit anticlimactic.