“I am comfortable to die on stage.”
Whereas his options are praised for his or her creative and classy struggle sequences, costumes and different points, one in every of King Hu‘s emblems was the affect of Buddhist philosophy in his works. Future is maybe essentially the most important motif linking all of his works, with lots of his characters fulfilling their destiny within the type of a prophecy or their rules, which is the struggle in opposition to corruption inside the world. King Hu has created tales that could be staged within the distant previous, albeit one spiced with fantasy components, however ultimately in addition they mirror the current with its reliance on narratives to make sense of occasions and actions. In one in every of his final tasks “The Wheel of Life”, which he co-directed with Hsing lee and Pai Ching-jui, we’re instructed three tales from totally different durations in time, showcasing the affect of destiny on individuals and the world round them, however which additionally pose the query whether or not we will escape the clutches of occasions predestined.
Within the first episode, directed by Hu, an Imperial Guard Commissioner referred to as Lu Zhenyi (Shih Chun) is on the hunt for rebels within the countryside. Nevertheless, he’s additionally on his option to marry Han Xuemei (Sylvia Peng), daughter of an influential official who was framed by the Imperial Guards. As she continues to be in love with the insurgent chief Feng Rui (Chiang Hou-Jen), she should discover a approach out of this case. Contemplating Lu shouldn’t be solely intelligent but additionally a martial-arts grasp, eliminating him turns into a troublesome activity.
A peking opera troupe is on the middle of the second episode, directed by Pai Ching-jui. The troupe has seen higher days and is on the verge of breaking apart, once they discover an investor in Grasp Ma (Ching Hou-jen). Certainly, they discover a new stage and a a lot bigger viewers, whereas Meng (Sylvia Peng), the younger star of the troupe, begins an affair with the wealthy gentleman, a lot to the hate of the troupe’s supervisor, Miao (Shih Chun).
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The conclusion to “The Wheel of Time” comes with Hsing Lee’s function a couple of dancer (Sylvia Peng) who befriends a person named Qiusheng (Ching Hou-Jen). As he has by no means been outdoors the temple, the place he has spent most of his life, his father, the excessive priest, warns him of the implications when leaving the temple.
Whereas there are just a few variations inside the three episodes, given the thematic framework, they really feel extra like a unit. Naturally, every director begins his personal distinctive fashion to the venture, however as a result of every a part of the “The Wheel of Time” is ready in a unique time, these variations make sense. Moreover, there are numerous echoes, establishing a better hyperlink to what occurred within the earlier episode, thus establishing a bond between the characters (or reasonably their varied incarnations). There’s a sturdy feeling of being captive in a plot which has been instructed earlier than and whose consequence appears set in stone, whereas the characters attempt to determine a option to escape, which, after all, solely furthers the catastrophic outcome. The fascinating query is whether or not the true forces behind every story, are the “gods” the priest within the third episode is addressing or the highly effective rulers or politicians controlling the course of the world. Much like the performs carried out by the opera troupe in Pai Ching-jui’s episode, we really feel like watching a grand play, a tragedy with some ironic twists, the place the gamers appear to know what is going to occur and the disaster their actions will make them.
Given the proximity to the world of stage performers, greatest indicated within the second and final episode, the performances together with the general aesthetics of the function emphasize the impression of watching a play. Ching Hou-jen, Sylvia Peng and Shih Chun add a layer of theatricality to their performances, whereas additionally a sure consciousness of the hazards their character’s actions might make them. The set design and the costumes outline two extra points inside an general visible idea which may be very near the stage, which on the one hand attracts the viewers in with the feelings of the characters, however then again retains the viewer at a essential distance. As talked about earlier than, we’re requested to determine the true powers in command of the occasions, and maybe even if the idea of predestination is principally there to make us settle for realities that hold us captive.
“The Wheel of Life” is an entertaining, but additionally thought-provoking drama. The three episodes directed by King Hu, Hsing Lee and Pai Ching-jui outline a thematically and aesthetically harmonious story about the true powers inside our lives, whether or not we’re able to taking cost over our lives.
