ReaderKenka Let's be realistic.

FeistyUpper If you don't like this, we can't be friends.

Senteur As somebody who had not heard any of this before, it became a curious phenomenon to sit and watch a film and slowly have the realities begin to click into place.

Nayan Gough A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

yo_sammi-1 I watched this movie on DVD and focus more on the acting, the background, the directing, the music instead of on the plot.I must admit, the more you watched this movie, the more you will appreciate it. The editing certainly did not help this movie at the theaters. The movie was so fast moving that one may be lost among the various romantic stories of the leading lady Quiyao.But, I listened to the director's comments and found out more about the movie than anything. We all certainly think that we are expert in analyzing a movie, however, why don't we all find out why the scenes were edited in that way, or why the actors handled the role in such way. Yes, once you open your mind, you will accept more of how artsy this film is. This movie certainly provoked a lot of thinking.

voyager_ix Although it certainly won't be everybody's cup of tea, "Everlasting Regret" is a fine example of a movie which reveals more by what it _doesn't_ show than by what it actually presents on-screen. Stanley Kwan undertakes the difficult task of telling the history of a city (Shanghai, roughly from the 1940s to the 1980s) through the personal histories of a few of its citizens -- without hardly ever showing a shot of the city itself. Indeed, music, clothes and hairstyles are nearly all we get in view of clues as to the passage of time, and some key events -- whether personal or political -- are barely even commented upon, much less shown directly. This admittedly makes the film somewhat difficult to follow (and presupposes at least a basic knowledge of recent Chinese history), but at the same time it manages to make the experience much more emotional and, well, _personal_ than a 'standard' historical piece would ever achieve. Instead of staging elaborate historical events and recreating architecture, Kwan masterfully focuses on the personal details and the effects these historical events (together with the passage of time itself) have had on the characters' lives. To see (or better yet: to feel) these effects, you need to concentrate on the details: the clothes, the furniture, the design of cups and glasses, the looks exchanged and the gazes averted. The details are supposedly where the devil is -- but it's also where the beauty of this film lies. For those of you who like to play the comparison game: "Everlasting Regret" is like a tranquilized Wong Kar Wai with a political background, or an emotional, de-contextualized Hou Hsiao-hsien. Be that as it may, if you're interested in 'serious' Asian cinema, you certainly won't feel any regrets about giving this one a chance.

Harry T. Yung With all the local hype from it's entry to the Venice festival, "Everlasting Regret" turned out to be an anticlimax. A local critic who has read the book wonders why all the intriguing details have been cut out, leaving a bland, banal shell of a plot. I have not read the book. Based on the script, I have a thought that director Kwan would be better off taking a gamble, making this a 150 minute epic, which will either give the audience enough flesh and bone to keep them intrigued or bore them to death. He didn't and we end up having an average length 115 minute movie that is too fragmented and scanty in details to allow the audience to feel any real empathy. Maybe the reason why he didn't is the shrewd realization that a 150- minute epic needs a certain level of acting to carry it, but I'll come to that later.The story takes us through the life of a Shanghainese woman Wang Qiyao (Sammi Cheng) from schoolgirl to middle-aged woman, focusing on her relationships with several men who wander in and out of her life. One, however, stays from beginning to end, a mentor cum guardian angel figure played beautifully by Leung Ka-fai. As a matter of fact, the names of Leung and Cheng lead off in the opening credit and the story is narrated with voice over from Leung's character.Another "star" of the movie is supposedly Shanghai, from the war years, through the Cultural Revolution, to the eighties. Yet, the only thing we see of the city is a faded picture of The Bund. Whether William Cheung's artful mise-en-scene can be deemed to represent Shanghai is a point to be debated.Deserving compliment is the cast. Leung is at his very best, playing the devoted photographer who never once shouted to Wang Qiyao until near last scene. He actually has his own stories, with his wife as well as with his "good friend" Lili, which were barely touched on. If anybody in this movie has any claim to an award, it's Leung. Lili, who initially introduced Leung's character to Wang Qiyao, is played by Mainland actress Su Yan, whose every nuance tells of her good acting academy training. Veteran Hu Jun is ever so dependable, playing the only man who really has Wang Qiyao's heart. And yes, Daniel Wu with a mustache is cute, if nothing else.At the end of the day, the soul of the movie is Wang Qiyao. What kind of a woman is she – educated, independent, rebellious, pleasure seeking, devoted, all of the above, and more? Sammi Cheng tried very hard but unfortunately, more often than not, her blank stare can be taken quite literally. I like her modesty and humility in the radio interviews (I heard 4 of them on one single day, for heaven's sake) saying that all she wanted to do was to try something different from her traditional cutie roles. But Wang Qiyao, I think, is a little too big a step for her to take. Doing something like what Meg Ryan did with "In the cut" or, better still, Kate Hudson with "Skeleton key" would have been a much better move.So it boils down to my summary line – the post-movie breeze-shooting turned into an exercise in casting. Maggie Cheung has been offered the role and turned it down. Stanley Kwan's first choice, reportedly, was actually lovely Wu Chien-lien, who has been sorely missed by her fans since her 1997 appearance in "Ban sheng yuan" (her cameo appearance in Jianghu last year was tantalizingly brief). She would have made a good Wang Qiyao. Other choices that were brought up were Taiwan's Rene Liu, who can certainly act but may not have that elusive Shanghainese air, and Hollywood's Vivian Wu, who was actually born in Shanghai and would be a good choice (remember her in "The Soong Sisters"?). But even Su Yan, who plays Lili, would be a better choice than Sammi Cheng. One would only need to watch the scene when they appear together to see why.

danielgelsi-1 Just saw the movie at the Venice Film Festival and it was mediocre. My review is somewhat biased because the movie is most likely geared towards the Chinese market and my cultural knowledge of China is very limited hence I may have failed to culturally relate to the film. However, the film felt episodic, in a bad sense, and, probably for budgetary reasons, the action was as if in a vacuum in the sense that the characters were certainly impacted by the events surrounding them, the rise of communism and détente, or whatever you may call it. But, we never experience, either through documentary footage or through outside shots, what China was going through at the time. Thus, it's hard to place the characters in the history that surrounds them. In this sense, the movie felt like a play. The acting was decent, nevertheless the lead actress was only passable. After being saturated by the main characters, I felt almost coerced into feeling invested in their lives and thus was curious to see the ending. However, the ending failed to make for the remainder of the film.