One's immediate thought when thinking of 'THE BANQUET' is the comparisons to 'CROUCHING TIGER, HIDDEN DRAGON', 'HERO' and 'HOUSE OF FLYING DAGGERS' that it has already garnered. Indeed, there has even been a spate of articles, following on from the lacklustre reception that Chen Kaige's 'THE PROMISE' recieved, declaring how Chinese wu xia epics are no longer of much interest to anyone. That's an opinion that I, for one, would take issue with...

Of the four films that I've just named, I'd say that 'THE BANQUET' is most similar, in scope, style and substance to 'CROUCHING TIGER, HIDDEN DRAGON', although that's not to say that it's anything like it. 'THE BANQUET' is not a wu xia epic, it's a period drama, rich with character: the martial arts sequences, that it does contain, are secondary to the narrative drama.

The film's narrative is heavily influenced by Shakespeare's 'HAMLET', which stands it in good stead, but the story and characters have been sufficiently tweaked by writers, Qiu Gangjian and Sheng Heyu, and director, Feng Xiaogang, to dismiss any accusations of it being a simple adaptation. The basic premise is there, as is the sense that we are building to something akin to the bard's tragic, climactic finale.

The main criticism of 'THE BANQUET' seems to have been related to its pace, but i found it moved at a pace that suited its content; the brooding nature of the narrative and the development of character needs a gentler pace. People also seem to have been critical of Zhang Ziyi, questioning her casting (as a result of which the character of empress wan was made younger) and her ability to do justice to the role. Quite frankly, I think she's done herslef a lot of favours in this role.

Zhang Ziyi is an actress who's fallen beneath my radar over the last year or so; I've had very little interest in the projects she's been involved in. In her role as Empress Wan, she is simply stunning as a young woman, who's had her identity and lover taken from her, been thrust into the role of Empress and is now torn by the return of her first love and the power she's become accustomed to, a power that remains in her grasp, whilst she is Li's.

"How many lives have been consumed by this flame?"

Ge You is also great at conveying the menace, weakness and torment that, as he says, arises as result of "the tug between power and love": a muderer, a usurper and a man enchanted by the charms of his new Empress. Daniel Wu puts in yet another solid performance as the emotional young Prince; like Empress Wan, his Wu Luan is torn between his feelings (for Wan), the pain of his father's murder and his relationship with the daughter of General Yin, Qing (Zhou Xun). Alongside Zhang Ziyi, Zhou Xun is amazing; as Qing, she represents something that none of the other characters do: innocence and truth. this often isolates her within the imperial court and her devotion to Prince Qu Luan drives her through the hardship that it causes her.

It is at this point, that I feel compelled to wax lyrical about the film on a purely visual level. The set of the imperial palace is almost a character itself. It has been dressed with astounding detail and the absolute beauty of almost every frame of the film, in which it appears, is a remarkable achievement; from the Empress's chamber, the throne room, corridors and exteriors. Besides the sets, the costume design is also quite beautiful. the combined effect of the costumes, their inhabitants and the world which they inhabit, make 'THE BANQUET' one of the most beautiful films i've watched for a while.

Finally, a word on the action sequences; they are, after all, the work of Yuen wo-ping. There are three, relatively short sequences, all featuring Daniel Wu, alongside a larger sequence at the beginning of the film. They are all visually stunning but, while actually being quite bloody and violent, they are more balletic in their choreography and execution. Personally, I love them but, if you're expecting something along the lines of what you've seen in 'CROUCHING TIGER, HIDDEN DRAGON' or 'FEARLESS', you'll probably feel let down. Then again, if you're expecting action over drama, the same will be true.

Over all, I have to say that i'm a big fan of this film. Feng Xiaogang has taken Shakespeare's influence and crafted a solid drama, that has as much style as it does substance. That's not to say that it doesn't have it's faults, there's a few parts of the narrative that aren't as strong as others and the ultimate scene of the film may raise a question or two but, with so many reviews choosing to dwell on any negative they can see, I thought I'd go the other way and be nice.

Thumbs up...