Review of Lust, Caution (2007) by Jake R — 18 Mar 2009

It can't be said that Ang Lee never makes interesting choices. His entire career has been a meander through almost every cinematic genre possible, couple with the fact that all of his films have been, if not great, certainly far from bad. After wowing audiences and critics with his sensitive, insightful dramas and understated by remarkable visual sense here he tackles a very different beast.

'Lust, Caution' is Lee's most mature work ever. That's not to say his previous efforts were childish, but that this film contains the darkest and most psychological material he has ever worked with. Set in a time of intensely troubled conflict and with a scope that encompasses political murders, twisted sexual relationships and a welter of deep, emotional violence, this is far from the carefree frollicking of 'Crouching Tiger Hidden' dragon.

'Lust, Caution' is composed of Lee's two specialist subjects: the period piece and the drama. For the former, wartime Hong Kong and Shanghai is wonderfully recreated, bustling metropolises saved from devastation by the collaborationist government. For the latter, Lee once again takes a thin source novel and spins deep meaning from its literary hints and suggestions. Working with longtime partner/scribe James Schamus that novella is spun out into a complex story of political intrigue and conflicting ideologies.

It starts out with perhaps every drama student's dream: to take political action into their own hands. A real sense of camaraderie develops between the group, which is gruellingly tested once their cover is blown. When we next see everyone it's clear a painful growing up has occured and familiar faces of disillusionment litter the screen. Lee has never so much as allowed the thought of a cliche to enter his head, so even though some story elements may seem recognisable nothing is ever done in a conventional way. This is a 2 and a half hour film with a pace as fast as a political thriller, where even the opening game of mahjong has the tension and snappy reflexes of a police standoff, only stopping to allow raw emotional pain to burst out from the screen.

When Mr. Yee steps out of the shadows of a minor supporting player to take a central role things only get even more complex. A devastating relationship begins between himself and Wong Chia Chi, under a false identity. As with most erotic thrillers sex is used as a metaphor, but here there is no snickersome threatrics, no cheesy attempts at seduction or erotcism; Lee's metaphors extend to the personal, as signs of the emotions within, for Mr Yee is a programmed murderer devoid of feeling and it's only here, in an explosive and violent rage with the sacrificial Wong, can he express his full anger. Then, when he has finished being consumed by it, he feels rejuvinated, cleansed almost, sensitive to this poor woman who has endured his anger and still remains to maybe begin to rebuild his shattered heart. There's only one, brief insight that this change might be occuring within him, but when it flickers across the screen it more than stirs a chasm of emotional intensity that literally takes the breath away. It's a testament to Lee's extraordinary intelligence of how people can think and feel about things, but it's also brilliant showcase for an incredible cast.

The biggest star in Asian cinema in a long time, Tony Leung plays against type as the monstrous Yee to Henry Fonda proportions. Easily acceptable as an introverted romantic, here he plays the exact opposite, a consuming vortex of hatred and anguish that burns fiercely in those hard-set eyes of his. Wang Lee-Hom dispells the myth that pop stars can't act by turning in a surprisingly detailed and handled performance, again avoiding convention by remaining at arm's length from his desire, for a huge number of reasons, both practical and personal. But the real standout turn here is Tang Wei as the willowy Wong/Mak Tai Tai. Astonishingly beautiful, mannered, subjective and totally convincing, she is the film's emotional backbone, never forgetting her own identity at the expense of growing success with her mission. Wei is amazing as the drama student playing a deadly role who falls in love almost unconsciously, as if by divine intervention itself. That this is Wei's first real onscreen role is even more astounding, and her overlooking for a Best Actress Oscar is one of the most ridiculously stupid mistakes the Academy ever made.

With a cool, melancholic, romantic score by Alexandre Desplat and softly tinged visuals, with a keen eye for composition, from cinematographer Rodrigo Prieto, this is a gorgeous film of genuine, outstanding beauty. Wielding the greatest emotional heft out of any Ang Lee film and with one of the best casts to have been onscreen in a long time this is a fantastic modern classic, a deserving entry into the greatest films of recent times and the only erotic thriller to ever get everything right.