The English title of Lu Chuan's historical epic refers to the so-called Feast at Hong Gate of 206 BC, where Lord Xiang Yu (Daniel Wu) planned to assassinate Liu Bang (Liu Ye), a peasant leader who was Yu's partner in rebellion against the Qin dynasty. But Liu escaped and would—several years later—defeat Lord Yu's army to become the first emperor of the Han dynasty. This episode is part of a long flashback recalled by the frenzied autocrat Liu on his deathbed many years later, as his wife systematically removes all those who might obstruct her consolidation of power or interfere with recording the circumstances of her husband's rise in any but the best possible light. The Last Supper not only offers a spectacular account of the transition from the Qin to the Han, but comments on how history can be written—and rewritten—to meet the needs of rulers (perhaps an oblique reference to contemporary Chinese affairs). The treatment here is highly theatrical, with oversized performances, especially by Ye, and extravagant set-pieces incorporating battles and a few executions staged in wildly stylized fashion. While the film is a visual feast, its emotional dryness, deliberate pacing, and modest amount of action will likely disappoint genre fans. But as a depiction of how absolute power can corrupt absolutely (and of how a person's misdeeds can come back to haunt him), this artistically crafted film may appeal to viewers who appreciate something more challenging than standard martial-arts fare. A strong optional purchase. (F. Swietek)
The Last Supper
Cinedigm, 116 min., in Mandarin w/English subtitles, not rated, DVD: $14.95 Volume 30, Issue 1
The Last Supper
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