Second part of Ann Hui‘s adaptation of “The Romance of Book and Sword” novel by Louis Cha, “Princess Fragrance” screened one month after the first installment, concluding a production that took the HK director three years to complete.
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Following the Emperor’s promise to help the Red Flower Society in their effort to overthrow the Qinq empire, after his relationship with Chen Jialuo was revealed, the latter finds himself in the midst of the Uighurs. While in southern Xinjiang, he falls in love with Kasili, the local princess, but gets entangled in a love triangle as her sister, Huoqingtong, also has feelings for him. At the same time, the Qinq army, under general Shao Wei is about to attack the Uighurs. Huoqingtong, who believes that tactics can give the Uighurs the victory against the three-times larger army of their opponents, is tasked with heading their forces. Although the nomads win, the result is rather dire for the trio, who soon find themselves lost in the Lost City ruins in the desert. As their situation becomes more and more intense, Chen Jialuo finds himself facing the Emperor once more.
Somewhat toned down in its overcomplicated narrative in comparison with the first part, “Princess Fragrance” is at least as much a love story between two women and a man, as it is an action epic. Regarding the second part, the battles in the desert are quite impressive, with the two armies in horses clashing in the most brutal fashion, and a number of panoramic shots showing the events in excellent fashion. In general, as in the first part, DP Bill Wong’s cinematography, in the way he captures the different settings but particularly the desert, and Lu Yong-Quan’s action direction, are the best traits of the film, with their combination essentially carrying “Princess Fragrance” from beginning to end.
There is also a folklore element here, as the presentation of the life and customs of the Uighurs is quite intense, although the focus on the music and dancing does become a bit tedious after a point. Thankfully, it is restrained to the first part of the movie, with the second following completely different paths. A legend about a princess held hostage, which is found written in the walls of the Lost City, adds a feminist element about the blights of women throughout the centuries, in a trademark of Ann Hui’s filmography. That this part is also played out as a separate, if brief segment of the film is quite interesting, highlighting even more the quality of the production and the amount of work that was put into the movie.
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On the other hand, some of the transitions, particularly in terms of time-frame, are rather awkward, as the one that moves the story to the palace, which is rather awkward. In that regard, it is easy to say that Chau Muk-leung’s editing has its issues, even if the fast pace suits the overall aesthetics of the movie nicely.
Zhang Duofu as Chen Jialuo gives a more dramatic performance this time, which seems to suit him better, as his demeanor is more of a ‘lover’ than a warrior. His performance does cross into melodramatic territory, particularly in the exquisitely shot scene on the Great Wall, but this issue is more attributed to Aiyinuo who plays Princess Fragrance and definitely goes overboard in the particular sequence. Apart from this, her performance is quite good, as is the case with Liu Jia as Huoqingtong, with the differences and similarities of the two sisters, as much as their relationship with the protagonist, being quite well presented. The chemistry of the three is of a high level, and this can also be attributed to Chang Dashi as the Emperor, whose rage and mellowness are equally well presented.
Although some issues with the pace do exist in “Princess Fragrance “ the drama in the movie, and the retaining of the quality of the action, elevates it a bit above its predecessor, in a film, though, that in the end, works quite well as a whole, particularly for ones who have read the novel first.
