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Plot: scholar falls in love with a beautiful girl who might, or might not, be human.

It’s obvious that Mural (画壁) was supposed to be the next logical step in epochal Sino filmmaking on a big budget. A grand and sweeping ghost romance set against the backdrop of ancient China and a spectral world of immense ethereal magnificence. What was heralded as a spiritual continuation of Tsui Hark’s most oneiric productions Mural desperately wants to be the Zu: the Warriors from the Magic Mountain (1983) or Green Snake (1993) for this generation. Regrettably it ended up leaning closer to Dragon Chronicles – the Maidens From Heavenly Mountain (1994) than anything else, which is probably not what the directors intended. Mural was promoted as the next Chinese epic. Mural has a lot to offer on the visual end but has nothing substantial beyond just about every kind of superficial eye-candy. There’s no contesting that Mural is a veritable feast for the eyes and the gathered ensemble cast is ravishingly beautiful, but somehow we can’t shake the impression that Mural should’ve been a lot more than it ended up being. Released the same year as as A Chinese Ghost Story (2011) with Liu Yi-Fei (劉亦菲) and reviled for much of the same reasons Mural can proudly stand shoulder to shoulder with prestigious digital effects-heavy box office misfires as Gods Of Egypt (2016), The Thousand Faces of Dunjia (2017) and Mulan (2020).

Director duo Gordon Chan Ka-Seung and Danny Go Lam-Paau are action specialists but in recent years have been attempting to branch out. Chan got his start under Joseph Lai and Jing Wong and his most remembered movies in the western world are Fist of Legend (1994) with Jet Li and The Medallion (2003) with Jackie Chan and Claire Forlani. Danny Go Lam-Paau started under Wellson Chin Sing-Wai. That both men would find their footing in action and comedy is only natural given their beginnings. Painted Skin (2008) was the duo’s first attempt at adapting a story from the Liaozhai Zhiyi, or Strange Stories from a Chinese Studio, anthology from Qing Dynasty writer Pu Songling. The basis for the screenplay is Hua Bi, the sixth story in Pu Songling’s collection of “marvel tales”. Mural chronicles the adventures of three men who happen upon an enchanted realm through a temple mural, believing it to be paradise, until the darker forces of that world come calling. The screenplay by Gordon Chan Ka-Seung, Lau Ho-Leung, Frankie Tam Gong-Yuen and Maria Wong Si-Man is faithful to the source material, but stumbles significantly with pacing and characterizations. Obviously Mural is derivative of better properties and it clearly had a decent enough budget. It was an ambitious undertaking reflected in three nominations at the Hong Kong Film Award 2012 - Best New Performer (Shuang Zheng), Best Costume & Make Up Design (Cyrus Ho Kim-Hung and Bo-Ling Ng) and Best Visual Effects (Chris Bremble). Mural desperately wants to impress with its sheer magnitude. Only it never quite gets there.

In ancient China virtuous and timid Confucian scholar Zhu Xiaolian (Deng Chao) and his loyal servant Hou Xia (Bao Bei-Er) are en route to the capital city for the imperial exams. Zhu plans on becoming a government official and doing good for his people. On the way there they become victims of an attempted robbery by mountain bandit Meng Longtan (Collin Chou Siu-Lung, as Ngai Sing). The three take refuge in a hillside Taoist temple where they are greeted by ascetic monk Budong (Eric Tsang Chi-Wai). In the temple interiors Zhu Xiaolian is drawn to a mural depicting six beautiful women in a vision of Heaven. Zhu is even more intrigued when Mudan (Zheng Shuang), one of the maidens, materializes right near him and he decides to follow her. He soon finds himself in the Land of Ten Thousand Blossoms, home of the fairies and an idyllic gynocracy where male presence is strictly forbidden and punishable by death. To repopulate the maidens drink from an enchanted spring but only are able to bear female offspring. Zhu Xiaolian hides behind Mudan when their Queen (Yan Ni) arrives for her daily inspection after her lovelorn majordomo Shaoyao (Betty Sun Li, as Betty Sun) has conducted the ceremonial assembly. Her Highness is a vain and iron-fisted ruler that requires constant adulation. The sole man of the court entourage is the Golden Warrior, Owl (Andy On Chi-Kit), fierce protector of the maidens and security detail of Her Highness, the Queen. The inspection is interrupted by the Stone Monster who professes his love for Mudan’s best friend, Cui Zhu (Xie Nan) – only to be slain by Owl and the female royal guard. Zhu Xiaolian hides in Shaoyao’s quarters where he unintendedly eavesdrops in on Shaoyao confessing her loniless to her mirror. Shaoyao is none too pleased with him but reluctantly agrees to escort him to Mudan’s dwelling.

He then finds himself back in the Taoist temple but fears that his presence might have put Mudan in grave danger. He wills himself, Hou Xia, and swordmaster Meng Longtan back to the realm where they are promptly surrounded by the royal guard and brought before the Queen’s court. The Queen allows the men access to the queendom and a life of unprecended luxury and abundance on the solitary condition that they each marry one (or more) maiden(s) of their preference or choosing. Philandering Meng Longtan weds downtrodden and submissive Yun Mei (Ada Liu Yan) but soon abandons her for flighty Ding Xiang (Monica Mok Siu-Kei) who voluntarily suggests a polyamorous relationship allowing him to take several concubines, among them Hai Tang (Lyric Lan Ying-Ying, as Yingying Lan). Morally upright Hou Xia cannot stand to see Yun Mei wronged by the boorish thief and marries her to restore her honor. Shaoyao instructs chaste Zhu Xiaolian to marry giggly Cui Zhu which frees him to continue his quest to find Mudan, or the maiden he truly loves. Soon the scholar discovers that the Queen has imprisoned Mudan in the burning pits of the Seventh Heaven for her transgressions. To free Mudan the fairies and the three men have to do battle with all the horrors of and in the underworld. A fierce battle ensues with the fairies and the three men of good emerging victorious but at the price of heavy losses. The queen regnant senses that her time has come and in quiet acquiescence relinquishes her throne and attendant powers to maintain community prosperity. With harmony in the realm restored Zhu Xiaolian and Mudan can finally spend their lives together.

What really kills Mural is its over-reliance on stunningly bad visual effects. Effects that come nowhere close to what television series Ice Fantasy (2016) and Secret Healer (2016) did so wonderfully on the small screen. At best they look like something out of a PlayStation 3 video game cutscene. At worst, as in the Stone Monster battle early on and in various of the Hell scenes, they resemble Albert Pyun’s Nemesis (1992) sequels. While Chris Bremble and his team deliver admirable effects under the circumstances the series Ice Fantasy (2016) did them better. Mainland China still has a long way to go before it will be able to compete with contemporary Hollywood productions. Thankfully not everything about Mural is bad. In its defense it is custodian to some of the most exquisite production design in recent memory. It tells its story on ornately build stages enlived with admittedly great looking green-screen vistas. It decks out the female cast in pastel-colored pan-Asian filigree costumes and truly mesmerizing make-up that often recall Joey Wong in A Chinese Ghost Story (1987). However good the costumes they not nearly possess the breadth and detail than those from the historical drama series Empresses in the Palace (2011-2015) or Secret Healer (2016). To its credit there are breathtaking scenery shots of China’s imposing natural wealth and beauty. It’s unfortunate that most of it is wasted on cringeworthy visual effects and a sluggish, aimless screenplay that never really capitalizes on any of its characters and is essentially clueless as to what direction to take the material it has chosen to adapt.

How can Mural simultaneously feel both hopelessly underdeveloped and in need of some rigorous slash-and-burn trimming? Next to the two directors an additional two people contributed to the script and, to be completely frank – it shows. Mural wants to be everything to everybody and thus is a whole lot of nothing. Mural primarily exists by the grace of Zheng Shuang who fills the designated imperiled maiden role with all the needed verve. The love triangle between Zhu Xiaolian, Mudan and Shaoyao is by all accounts what the Pu Songling story evolved around. Here the story’s more fantastic elements take precedence over the romance and that is what becomes Mural’s undoing. There was a great and tragic love story to be told with Mural but the screenplay apparently can’t decide what it wants to be. Early on a lot of resources were spent on the Stone Monster battle which was certainly a nice enough diversion, but it is of no narrative importance. The initial meet-cute between Zhu Xiaolian and Mudan is handled well enough but after that the screenplay seemingly doesn’t know how to develop the courtship and eventual romance between the two and instead bounces in all directions without ever finding an element to focus on. Mural would have been a lot better if the screenplay had been more focused and tighter. As such Mural never develops into a grand-scale fantasy adventure in the way that Zu: the Warriors from the Magic Mountain (1983) did. Neither does it revolve around a doomed romance quite in the same way as Ghost of the Mirror (1974) and A Chinese Ghost Story (1987) did. Deng Chao and Betty Sun Li singing the theme song certainly helps, but the score is no match for the work from Romeo Diaz and James Wong in Hark’s 1987 HK classic. Zheng Shuang (郑爽), Betty Sun Li (孙俪), Lyric Lan Ying-Ying (蓝盈莹), Monica Mok Siu-Kei (莫小棋), and Charlotte Xia Yi-Yao (夏一瑶) are as beautiful as Sino girls tend to be but they are no match for Joey Wong Cho-Yin (王祖賢), circa 1985-87; Moon Lee Choi-Fung (李賽鳳), circa 1985; or Chingmy Yau Suk-Ching (邱淑貞), circa 1992.

The most recognizable names of the cast are Betty Sun Li, Lyric Lan Ying-Ying and Collin Chou Siu-Lung. Sun Li was in was in Ronny Yu’s Fearless (2006) and Lan Ying-Ying was in Painted Skin (2008). Li and Lan Ying-Ying were together in the critically acclaimed historical drama Empresses in the Palace (2011-2015) where Li received top billing. Whereas Empresses in the Palace (2011-2015) allowed Li to showcase a variety of (often very profound) emotions here her role is rather limited. Collin Chou Siu-Lung is a decorated veteran of Hong Kong and Mainland China cinema. His earliest appearance of note was in Encounter of the Spooky Kind II (1990) but he’s known to Western audiences as Seraph from The Matrix: Reloaded (2003) and The Matrix: Revolutions (2003) as well as Ryu Hayabusa from Ninja Gaiden in the entertaining DOA: Dead or Alive (2006). Next to there are, among many others, The Forbidden Kingdom (2008), Special ID (2013), Angel Warriors (2013), and Ameera (2014). Ada Liu Yan later turned up in The Thousand Faces of Dunjia (2017) and Bao Bei-Er years later starred in Yes, I Do! (2020) or the amiable Mainland China direct remake of My Girlfriend Is A Cyborg (2008). That Mural looks quite beautiful is to be taken quite literally as apparently most of the main cast were chosen from the modeling pool and they are helped tremendously by the costuming department. It’s not without a sense of irony that the lead faeries/maidens are named all after flowers and that the many unnamed fairy/maiden extras are portrayed by some of the prettiest Sino models in what are nothing but the most debasing (and inconsequential) of flower vase roles.

Gordon Chan Ka-Seung and Danny Go Lam-Paau are perfectly adequate action directors but between the two there isn’t a scintilla of feeling for romance or even the nuance that it requires to work. No amount of digital composited green/blue screen backdrops can replicate what the old masters did on location and soundstages. As a result Mural is at no point able to harness the same magical and near-fairytale qualities you’d expect of a production like this. Despite being custodian to one of the sweetest on-screen romances and dripping with saccharine sentimentality there was definitely potential for Mural to have been the next great Sino epic. The problem is the writing. Mural could have been one of the great romances had it been more tightly scripted. Alas that was not the case. The entire thing comes off as a handy, two-hour manual for socially stunted Chinese netizens unsure of how to interact with the fairer sex and, likewise, for them what kind of different men there are in the world. The dialogue lays it on thick so that the message is crystal clear. Only Husband Killers (女士复仇) (2017) would be even more blatant and obvious about it. While Mural is ostensibly beautifully lensed and probably better acted than it has any right to, never did a spectacle this expensive feel so insincere and hollow. No amount of beautiful women can save a production from an overkill of bad visual effects and aimless, horribly confused writing. Mural arrived a full six years after the Star Wars prequel trilogy (1999-2005) and effortlessly manages to look worse. Pu Songling deserved better. This is not it.

Plot: underground warrior sect vows to stop invasion of extraterrestrial demons.

The Thousand Faces Of Dunjia is the long awaited and much overdue collaboration between director/action choreographer Yuen Wo-Ping and producer/writer/director Tsui Hark. Yuen Wo-Ping and Tsui Hark are veritable Hong Kong legends and this Mainland China feature sees both men combining their strengths to create the ultimate fantasy wuxia event movie. Allegedly a remake of Yuen Wo-Ping’s own The Miracle Fighters (1982) The Thousand Faces Of Dunjia is the first chapter in a grand two-part saga chronicling an epic confrontation between good and evil on the tellurian and the celestial plains. Apparently this was very much supposed to be a Zu: The Warriors from the Magic Mountain (1983) and Legend Of Eight Samurai (1983) for this generation. Unfortunately The Thousand Faces Of Dunjia falls disappointingly, depressingly short of the mark and instead ends up somewhere along the lines of Dragon Chronicles: The Maidens of Heavenly Mountain (1994) and Mural (2011).

As producer Hark graced the world with everything from Peking Opera Blues (1986), the A Better Tomorrow (1986-1989), Once Upon a Time in China (1991-1997) and A Chinese Ghost Story (1987-1991) franchises, as well as Dragon Inn (1992), and Green Snake (1993). In capacity as director Yuen Wo-Ping worked with some of the finest martial artists, among them Jackie Chan, Donnie Yen, Brigitte Lin and Michelle Yeoh with a resumé including Drunken Master (1978), Snake in the Eagle's Shadow (1978), Iron Monkey (1993), Fire Dragon (1994), and Wing Chun (1994). As an action choreographer Yuen Wo-Ping is known in the West for his work on Fist of Legend (1994), The Matrix (1999), Crouching Tiger Hidden Dragon (2000) and its amiable sequel Crouching Tiger Hidden Dragon: Sword of Destiny (2016). The Thousand Faces Of Dunjia sees Tsui Hark writing and producing with Yuen Wo-Ping directing. Nominated in three categories (Best Action Film, Best Costume Design, and Best Visual Effects) at the 12th Asian Film Awards and an additional two (Best Action Choreography, and Best Visual Effects) at the 37th Hong Kong Film Awards The Thousand Faces Of Dunjia is shockingly average and falls well short of both Hong Kong veterans' individual and collective legacy.

action choreographer/director Yuen Wo-Ping (left) and producer/writer Tsui Hark (right)

No less than 19 production companies and three visual effects firms were involved in the creation of The Thousand Faces Of Dunjia. Interestingly, at least for those who pay attention to such things, there was no involvement from the Film Bureau who specialize in these kind of endeavours but on a much smaller scale. Probably because Hark’s screenplay somewhat condemns the corruption of ancient Chinese bureaucracy. Not only does The Thousand Faces Of Dunjia frequently ends up looking like a video game, it’s even structured like one as the merry band of spiritual warriors, each with their own superpower, embark on a perilous six chapter journey to save the world from certain doom at the hand of alien invaders. It comes replete with character power-ups, object fetching quests and end of level boss fights. It’s bad enough when Mural (2011), Angel Warriors (2013), and Ghost Story: Bride with the Painted Skin (2016) end up with better visual effects. At this rate even Bollywood has superior special effects with box office hits as Krrish (2006) and Krrish 3 (2013). You know a production is in trouble when Ada Liu Yan’s breasts attract far more attention than the grand heroic tale it’s spinning.

In ancient China during the Northern Song Dynasty agile fighter Dao Yichang (Aarif Rahman) travels to the capital of Kaifeng hoping to become the constable. Sent on a mission to intercept non-existing wrong-doers Dao quite accidently happens upon a plot much larger than himself. Chasing a strange-looking villager all through the city and into the local brothel where his goldfish turns into an oversized, three-eyed demon causing pandemonium and chagrin to prostitute Mermaid (Ada Liu Yan). The incident attracts the attention of the secretive Wuyinmen warrior clan. They have long held the prophecy that such an event would herald the coming of their destined leader. The seven Wuyinmen members have inherited the magical skills of Qimen and the Dunjia orb will allow them to repel the alien invasion. Iron Butterfly (Ni Ni) forges an alliance with Dao, which prompts Big Brother (Wu Bai) to seek out the Destroyer Of Worlds device. Meanwhile Wuyinmen doctor and strategist Zhuge Fengyun (Da Peng) happens upon waifish ingénue Circle (Zhou Dong-Yu), who's not only an amnesiac but bears the wrist markings of the prophesied Wuyinmen messiah, in a catacomb. That the fragile and slender stray also is a demonic shape-shifting monstrosity is something only Tsui Hark could come up with. With time rapidly ticking away Iron Butterfly and her brothers engage in a desperate effort to safe the world from a ferocious alien force that threatens to destroy it.

If nothing of the above comes across as your typical Tsui Hark fantastical adventure then you’re absolutely right. An everyman chases what turns out to be an alien lifeform and happens upon an impending invasion while being initiated into a top-secret organization (that civilians are blissfully unaware of even exists) and they need a certain object of great importance and magnificent power to stop said invasion from destroying all life on Earth? The Thousand Faces Of Dunjia, should there really be any doubt it is, the Chinese equivalent of Barry Sonnenfeld’s Men In Black (1997). Aarif Rahman does his best Will Smith impression, Ni Ni is Tommy Lee Jones complete with snark and cynicism, and Da Peng is Rip Torn. At various points Ada Liu Yan and Zhou Dong-Yu stand in for Linda Fiorentino. It’s depressing to see Hark imitating Hollywood, especially in light of how he once was an innovator. Only the messiah prophecy is somewhat redolent of David Lynch’s Dune (1984) but that’s the extent to which Hark deviates from the Men In Black (1997) model. For Chinese audiences the story might have been something else with its daring mix of comedy, Chinese folklore, science fiction and a decidedly Western idea of a plot. For Western audiences The Thousand Faces Of Dunjia riffs on Men In Black (1997) just a bit too close for comfort. It has neither the charm nor the goofy comedy from the Barry Sonnenfeld original. Slapstick humor has long been a boon to the work of Tsui Hark, but here it’s definitely more of a bane.

At least the story is reminiscent of both Zu: The Warriors from the Magic Mountain (1983) and Legend Of Eight Samurai (1983) but there’s where the good news ends. The Thousand Faces Of Dunjia is frustratingly episodic and builds towards a climax that never really comes. It’s so busy setting up the inevitable sequel that it frequently forgets that it’s supposed to tell its own story for that sequel to make any sense. Somewhere in the early 2000s Mainland China features started to resemble 2 hour trailers more than actual movies and The Thousand Faces Of Dunjia is no different. Tsui Hark’s masterful eye for composition and use of color is painfully absent and the acrobatic action choreography from Yuen Cheung-yan and Yuen Shun-yi isn’t enough to save The Thousand Faces Of Dunjia from prematurely collapsing in on itself. As a greatest hits of sorts there are clumsy constables and well-meaning Confucian scholars, brave sword(wo)men, gravity-defying physics and plenty of beautiful women, prostitutes and otherwise, who are either chaste or promiscuous and always prefer a few slaps across the face as a form of foreplay. Most of the men are bumbling idiots constantly dangling for threesomes with girls who might, or might not, be monsters. Granted everything’s beautifully photograped by Choi Sung-Fai but it never congeals into the Chinese The Fellowship of the Ring (2001) that it probably was meant to be.

Perhaps the worst of all is that The Thousand Faces Of Dunjia never becomes more than a sum of its parts. At its best it harnesses the mad kinetic energy of We’re Going to Eat You (1980) but those moments are far and few. 34 years after Zu: The Warriors from the Magic Mountain (1983) you’d imagine Tsui Hark having the fantasy wuxia down to a science. If The Thousand Faces Of Dunjia was meant to rejuvenate and redefine the fantasy period costume genre then it’s perhaps time to look to at the small screen where series as Ice Fantasy (2016) and Secret Healer (2016) do the same thing to much greater effect on a comperatively smaller budget. Ni Ni is overflowing with talent even though the shadow of Joey Wong, Brigitte Lin, and Maggie Cheung looms large over her. Xie Miao was in God Of Gamblers Return (1994) and it’s always good seeing him in another high-profile production. Ada Liu Yan was in Painted Skin (2008) and Mural (2011) and her star is definitely on the rise. Yan is well underway eclipsing Mavis Pan Shuang-Shuang, Frieda Hu Meng-Yuan, Wu Jing-Yi and Yang Ke in terms of bankability. Arguably Tsui Hark has seen better days and his new obsession with digital effects might very well spell the end of practical effects in his movies from here on out. Yuen Wo-Ping on the other hand helms The Thousand Faces Of Dunjia with all the finesse and professionalism you’d expect from an esteemed veteran of his caliber.

Critical – and fan reception was mixed to negative and for once they were spot on. It’s sad to see Tsui Hark, the Steven Spielberg from Asia, undertake such an ambitious project and have it fail so unbelievably spectacularly due to a hamfisted screenplay and some of the most unconvincing digital - and visual effects this side of a bad PlayStation 3 game. That the man who innovated Asian cinema time and again (by taking old folklore stories and reinventing them as action-filled special effects extravaganzas) in the past three decades now finds himself a follower instead of a leader of contemporary cinematic trends is depressing enough. If, and when, the proposed second chapter of The Thousand Faces Of Dunjia does arrive we can only hope that Tsui Hark will be able to properly amaze us with his enchanting vistas of mythical figures engaged in epic battle once again. There’s no shortage of the fantastical element in The Thousand Faces Of Dunjia, if only the human element was half as interesting as it ought to be. There is a time and place to admire Ada Liu Yan, but we have an inkling suspicion that The Thousand Faces Of Dunjia was not supposed to be it.