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The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

I found this Chinese film in the book 1001 Movies You Must See Before You Die, as with many titles featured in the book, I was hoping for something worthwhile and that would deserve its placement, it certainly sounded like something that could be good. Basically it is about the life and career of 1930s Chinese movie star Ruan Ling-yu (In the Mood for Love's Maggie Cheung, also as herself). She was China's first prima donna of the silver screen, emerging as a star of the silent screen by her twenties, and becoming known as "the Chinese Garbo". Ruan started as a background actress at the age of sixteen, with short appearances and small parts, eventually gaining leading roles, she starred in over a dozen films, many have been lost, but those that remain are still well-received. But Ruan had a troubled personal life, she was having an affair with a married man, and gained negative criticism from the press. Various public issues and intense private problems resulted in Ruan committing suicide, she poisoned herself with an overdose of barbiturates, leaving a note that apparently read "gossip is a fearful thing", there was also rumours of her lover being hostile to her, she was 24 years old. The film switches between documentary style interviews by those who knew Ruan Ling-yu, the cast and crew of this film, and recreations of her most famous films, including the critically acclaimed The Goddess. Also starring Chin Han as Tang Jishan, Lawrence Ng as Zhang Damin, Tony Leung Ka-fai as Cai Chusheng, Carina Lau as Li Lili, Cecilia Yip as Lin Chuchu and Waise Lee as Lai Man-Wai. Cheung gives a splendid performance as the troubled but talented actress, I personally know of the real actress from watching The Goddess, which was a brilliant performance, it is a tragic story of the rise to stardom and the pressures it brings, the most memorable scenes are the recreations of the famous films, overall it was a fairly good period biographical drama. Worth watching!

The experience of watching this film in 2006 has been similar to watching Marilyn Monroe in "Don't Bother to Knock" after having seen her later, greater performances. Maggie Cheung's (Garbo-like) capability to release interior emotion that will later haunt viewers in "In the Mood for Love" is beginning to take root in "Yuen Ling-yuk." Later on, Wong Kar Wai was able to use editing to sculpt her performance into consistent, unrelenting intensity. Here she is just beginning to explore the boundaries of her talent. This fits in with director Stanley Kwan's need to create a work in progress, like the productions we watch as they are filmed. He both exploits and denounces the artificial milieu as the actors slip in and out of their roles and the film steps in and out of period. The trial-and-error method of Yuen Ling-yuk is matched by Kwan's letting Cheung find her way through the moods of the character, as if she were trying on a different mask for each moment of the life she is embodying. By 2000 the integration of facial and corporal expressions into dramatic expression would be seamless. It would be interesting to know which directors saw this film when it was shown on the festival circuit. Did Tim Burton know that he had a Chinese counterpart who also let his affection for a forgotten era in cinema guide the pace (disconcerting for many) of his tribute when he made "Ed Wood" a year later? In 1999 when Benoît Jacquot filmed "La Tosca," did he think of this film for his distancing technique that juxtaposed real singers at a recording session filmed in black-and-white with their operatic characters in colorful period costumes? Perhaps even Scorsese took inspiration for "Aviator" from the 1930s shadowy wood-paneling/glossy brilliantine look that comes much more easily to Kwan.This film can be placed alongside "Sylvia Scarlett" or "The Unbearable Lightness of Being," wherein young actresses were given the freedom to go beyond what they had done before and reach for what they would do, under the guidance of a director whose search to take the viewer into (then) uncharted waters inspired the performers to deepen their potential.

I saw Stanley Kwan's "Centre Stage" ("Yuen Ling-yuk") at a university series "New East Asian Cinema" on February 27, 2006. The film is a biography of Ruan Ling-yu (1910-1935), a silent film star of Chinese silent films.The film describes the life and meteoric rise to fame of young Shanghai actor Ruan Ling-yu (played well by Maggie Cheung), who from the age of 16 till her death at age 24, was featured, often in a lead role, in over a dozen films. She was involved in extramarital affairs with two men and eventually the double standards that women suffer by catch up with her (but not with the married suitors), and dogged media slander her reputation. With her honor at stake, she sees no recourse but to commit suicide, and does so with an overdose of barbiturates. According to the wikipedia entry about her (http://en.wikipedia.org/wiki/Ruan_Ling_Yu), "her funeral procession was reportedly three miles long, with three women committing suicide during it."The film cleverly goes back and forth in time, and includes excellent interludes from some of Ruan Ling-yu's films. These snippets, as well as the local color we see in 1930s Shanghai, reveal a vivacious setting in Chinese history that I would enjoy learning more about, including seeing some of the period cinema.Not previously knowing anything about Ruan Ling-yu, I of course cannot vouch for the realism of the portrayal, but the acting of Maggie Cheung revealed a strong, magnetic, kind, talented, determined, and yet slightly aloof woman who enjoys many admirers. The other characters were not nearly as well developed, but that is understandable with the focus being on Ruan Ling-yu.I wonder if Kwan could have set the stage, so to speak, a bit more economically, and found the first half to two thirds rather slow. But, without giving anything away, the ending (of course we know that suicide is the true history) is calmly dramatic and captivating. The manner in which Cheung shows the actor saying goodbye to her close friends, who don't know that this is in fact her farewell, is touching - I wonder if this is how it happened. A film worth watching and which I would like to see again - 7.5 stars out of 10.--Dilip Feb. 27, 2006

I don't mean to say anything other than the title chosen. Ms. Ruan is a typical Chinese woman, who believes her innocence would never be questioned, in real life and in the movie. When she finally became a movie star, she kind of lost and still hoped she could stick to an elementary sort of love. The fact is she could never return and no one would stay the same.The movie did a wonderful job in comparing two different eras. Maggie, the actress who suffered a lot in real life, matched Ms. Ruan's character very well. The history here seemed too convoluted and trivial, if not meaningless, to many westerners. But as a Chinese, I appreciate every delicate piece in the movie. I still remember the famous saying from one of the greatest Chinese poets -- Qu Yuan.With wind blowing, I march into peace of death.That's the kind of thought in Ms. Ruan's last minute. And the sheer beauty there is quite different from Japanese, Korean or any other oriental culture. That's Chinese. I call it non-extreme idealism, if still you think it is idealism. :)