Quite unfortunately during the latest years, Anthony Wong seems to be continuously appearing in films where his performance is excellent, but the movies are not exactly great. This time, however, in “Valley of the Shadow of Death” he has a role where his performance by itself could actually elevate the whole thing to the highest levels of quality. Let us see if he achieved just that.
Valley of the Shadow of Death is screening at Tokyo International Film Festival
Pastor Leung, who always teaches about the value of forgiveness, finds himself in a rather dire situation, when one of the people working for his church gives shelter to a young man who was living on the street. It turns out, however, as we learn from various flashbacks, that the boy is the one responsible for the death of Leung’s daughter, who was his classmate, and the reason his relationship with his wife, a head nurse, is still under tension. Torn between his wish to avenge his daughter, his wife’s anger for him actually helping the boy just as he does for all the people in need, and his own teaching and his role as a pastor, Leung finds himself under intense pressure.
Jeffrey Lam Sen and Antonio Tam direct a rather interesting movie, which essentially questions whether Christianity’s teachings, and particularly the one about forgiveness, can actually be followed by those who advocate them. Of course, by having Leung having to forgive his daughter’s killer (and much worse actually) they stretch the question to its extremes, in an element, though, that works particularly well for the drama in the movie. Furthermore, that the concept of abortions is also dealt with, and in a way that is connected with the aforementioned, adds another level to the context here, essentially carrying it from the majority of its duration.
At the same time, the relationships that are formed between the three protagonists are also quite intriguing to watch, even if the occasional naivety of the young man is ‘exploited’ in ways that are not exactly logical. The tension his presence creates, however, is definitely among the best parts of the movie, along with the placement of the flashbacks, which allow the story to be revealed in an ideal way. In that regard, the editing by J. Him Lee and Philip Chjan emerges as another trait here, additionally for the rather fitting mid tempo. The cinematography by Wong Shek Keung Leo is on a high level too, with his use of the light, the shadows, and the overall bleakness that dominates the visuals here working quite well for the movie.
The aforementioned relationships also allow the three main protagonists to shine. Anthony Wong is impressive as ever, with the way he tries to mask his inner struggle but occasionally fails being a treat to watch. Louisa So in the role of his wife is also quite good in a role that has her reacting in the exact opposite way than her husband, while the chemistry of the two is one of the movie’s best aspects. George Au in the role of the perpetrator is passable, although definitely on a lower level than his co-actors.
There is, however, a rather significant issue here that does bring the whole thing down significantly. The release of the tension and even more, its aftermath in the movie are rather badly handled, perhaps in an effort to avoid any kind of offense towards anyone (Christians?). The result messes up the comments here, and particularly the question that laid heavily from the beginning, with the writing of the ending being essentially the worst element of the whole movie.
As such, in the end, “Valley of the Shadow of Death”, even if it had all the prerequisites to become a great drama, ends up a mediocre one that fails to meet its potential.
