Tuesday June 19, 2018
Movie Review: The Bold, the Corrupt and the Beautiful (2017)
In modern Taipei, a high-powered female official with a prosthetic leg leaves a high-powered meeting while the news cameras record her phone conversation outside. What is she saying? No one is sure. They obsess over it. Then we cut to two blind, traditional storytellers, who, in sing-songy Taiwanese, begin to chant the tale we’re about to see.
“The Bold, the Corrupt and the Beautiful,” which was nominated for seven Golden Horse awards (Taiwan’s Oscar), and won three, including best picture, is basically an art-house version of a female-driven soap opera. Imagine “Dynasty” remade by Jonathan Glazer.
The Tang sisters—the eldest Ning-Ning (Wu Ke-Xi), and the youngest Chen-Chen (Vicki Chen)—along with their mother, Madame Tang (longtime Hong Kong action star Kara Wai), constitute, it seems, the three titular possibilities. Which one is bold, which corrupt, which beautiful.
Since we first see Ning having sex and smoking opium with two men in the little cottage in the back of their estate, and within the watchful eyes of her innocent, younger sister, we assume she’s the corrupt. Or maybe she’s the bold? Maybe it’s the mother who’s corrupt, since the mother counsels the youngest to treat the cattiness of her cousin, Pien-pien (Wen Chen-ling), with a calm and an impenetrable smile—as we see Madame Tang do with the powerful ladies at a dinner later that evening.
Or maybe it doesn’t matter at all, idiot, since “The Bold, the Corrupt and the Beautiful” is simply the U.S. title.
Right. What was I thinking? The Chinese title is “血觀音,” or “Xue guan yin.” Guan yin is the Bodhisattva associated with compassion and known in the West as “The Goddess of Mercy.” Xue is blood. So ... “Blood Goddess of Mercy” or “Blood Bodhisattva” maybe. Yeah, the three English adjectives don’t have much to do with it other than adding a soap opera patina.
对不起。Forgive all the throat clearing.
Anyway, these are our main characters:
- The icy geniality of Madame Tang
- The licentious rebellion of her eldest daughter, Ning
- The wide-eyed innocence and voyeurism of her youngest daughter, Chen
Every powerful family in their circle seems to have a similar set-up of icily polite women. The men in the movie are mostly nonexistent. If they’re there, they’re there to be manipulated.
The land speculation scheme involving the Tangs threatens to burst open after a local legislator and his Japanese wife are murdered, and Pien lies in a coma. A stable boy, who was involved with Pien, is the main suspect.
The whole thing is needlessly confusing—at least for me. Chen waits by Pien’s side at the hospital. Because the Tangs care? Because they want her quiet—or dead? Meanwhile, Madame sends Ning to turn the head of the by-the-numbers cop investigating matters. She brings him a Bodhisattva; she charms him. Or does he charm her?
Best served cold
The biggest threat to the Tangs, though, is themselves. Everything the mother wants hidden, the eldest daughter wants revealed—including the biggest cover-up of all: the fact that Chen isn’t Ning’s sister but her daughter. Shades of “Chinatown.” It’s a long-ago scandal that was swept under the rug by a subterfuge that couldn’t last.
In the end, Ning tries to escape; but her mother’s reach is long. And brutal.
The movie itself is a bit long and brutal. The stable boy’s 11th-hour rape of Chen, and her attempt at suicide by throwing herself off the train, seem unnecessary to me. The latter at least explains the prosethetic leg at the beginning. The modern, high-powered official, we learn, is Chen, and she’s leaving the high-powered meeting to go the bedside of her mother. Madame Tang, now aged, in pain, and near death, has a DNR but her daughter tears it up. Out of love? No. The opposite. She wants her mother to live with the pain. She wants to watch her twist in the wind. It’s a brutal, satisfying end to an otherwise too complex tale.