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Claustrophobia
Chinese: 親密
Year: 2008
Director: Ivy Ho
Producer: Cary Cheng Kim-Fung
Writer: Ivy Ho
Cast: Karena Lam Ka-Yan, Ekin Cheng Yee-Kin, Andy Hui Chi-On, Felix Lok Ying-Kwan, Derek Tsang Kwok-Cheung, Chucky Woo, Ben Wong Chi-Yin
The Skinny: Ivy Ho's Claustrophobia tells the story of an office romance that never really happens, and is by turns realistic, affecting and frustrating. Easier to appreciate than it is to enjoy, the film nevertheless feels accomplished thanks to its craft, its patience, and its uncompromising emotions.
Review
by Kozo: Claustrophobia opens with a Friday evening carpool ride led by Tom (Ekin Cheng), a stable, married Hong Kong guy with one child and one more on the way. Tom is a marketing manager at an import/export firm, and each evening he drives his subordinates home from their office in Aberdeen. His team is a diverse bunch: experienced old-timer Karl (Felix Lok), the geeky and somewhat needy John (Derek Tsang), and the smart-talking, sassy Jewel (Chucky Woo). Rounding out the group is the sensible and pretty Pearl (Karena Lam), who lives in New Territories-located Shatin, and is always the very last to get dropped off on Tom's nightly carpool rides.
John and Jewel get into an argument and, emotionally upset, John asks Tom for a sudden drop-off, whereupon he stalks off in a huff. The conflict between John and Jewel is never explicitly explained, but their emotions and dialogue point to a possible relationship that's now on the rocks. The group continues on, dropping off each member before Tom and Pearl are left alone in the car. However, there's a palpable, wordless tension between the two. Finally, Tom makes his move: he tells Pearl that she should consider seeking employment elsewhere, and even provides her with a contact for an open managerial position at another company. Instead of being grateful for the new opportunity, Pearl is incredulous. She dares Tom to fire her, after which she angrily leaves, their conflict unresolved. Obviously, work on Monday is going to be awesome.
No stranger to love stories, screenwriter Ivy Ho (Comrades, Almost a Love Story) makes her directorial debut with an exceptionally subtle one. Claustrophobia is a thematically universal, but still very Hong Kong-specific tale of two people who flirt with a little office romance. The subject is quite a popular one in Hong Kong, and has been a focus or subplot in numerous films and television dramas over the last decade. But unlike the crowd-pleasing shenanigans of Needing You, Hong Kong's most successful entry in this genre, Claustrophobia refuses commercial romantic comedy structure and themes, going instead for deeply felt emotions.
However, the emotions here run so deep that they're barely discernible to the audience. Tom and Pearl bury their emotions so completely around each other that they surface only in small, telling ripples, with all-consuming passion or risk-it-all leaps of faith something never considered. Like its title suggests, these people are trapped by circumstance and emotion, and there's really no way out. Instead of confronting the problem, Tom and Pearl muddle silently through, avoiding their emotions and sometimes each other. There's a familiarity and even a poignancy to these stuck-in-the-mud characters, as their emotions could strike a chord with anyone who's had a deep attraction towards someone at the office. However, this is a film, and after a while, the characters' inability to move forward can frustrate an audience.
Adding to the frustration is the film's unusual structure, which starts with the tipping point in Tom and Pearl's relationship and moves backwards in time. Instead of showing us the aftermath of their standoff, we see the minor events and incidents that lead to the unspoken denial of their mutual attraction. The clock is turned back one month for a scene, and then another two months for a following scene, and so on and so forth. Audiences visit a slice of Pearl's life at each stop in time, and bear witness to the buried emotions, sidelong glances, and barely-telling minutiae that hint at Tom and Pearl's burgeoning attraction. Finally, the film reveals what happened one year prior to Tom and Pearl's impasse, with a conclusion or meaning hopefully attained.
Ho's choice of a narrative structure is intriguing, but the film's measured, realistic style mutes its effectiveness. Each scene is told in its complete, banal, and sometimes boring entirety, thanks to storytelling that is very nearly real time, and characters that choose not to say very much. Nobody communicates directly; characters converse indirectly with body language and small talk, with more weight found in what isn't being said. Eventually, the question has to be asked: where is this entire thing going? Is the final reveal one year ago a suitable payoff for the film's uncommon structure and lack of forthcoming? Will Claustrophobia finally break free of its self-imposed narrative shackles and actually tell us something?
Maybe this is a spoiler, but the answer to that question is "No". Claustrophobia culminates in a small, appropriate irony, but the journey there is so subtle that audiences may not be able to connect the dots. Ho doesn't spell out her intentions, and simply asks the audience to figure it out for themselves. If the audience is willing to do that - that is, if they're willing to piece together the entire backwards journey on their own - then the film can attain a quiet, felt resonance. The problem: some audiences may not be willing or patient enough to follow along, and even those who follow the film through to its end may feel that the payoff is too slight for the investment. Some films end with a bang while others end with a whimper, but not Claustrophobia. It just ends, abruptly and nearly silently.
Ivy Ho's storytelling demonstrates tremendous integrity, which is both the film's strength and weakness. The weakness is that the film becomes frustrating, as it hints at much but shows very little. The strength is that the film's refusal to reveal effectively places the audience into the character's lives, plus it ends up putting weight on every emotion or word that isn't expressed. The film traps its audience in much the same manner as its characters are trapped by their emotions and situations - with an anxious, sometimes suffocating weight. Feelings are not expressed, but each character can be seen struggling with them silently. In the end, the payoff may simply be the impressive depth of character and emotion on display. The characters don't say or do much, but their emotions can be seen and even felt - and that contrast can be a very compelling one. Occasionally there are some missteps, like some double-edged dialogue that feels out of place in the film's reality, but Ho keeps things consistently unassuming and subtle.
A great deal hinges on the actors, and they impress in largely subdued roles. Karena Lam's performance is the heart of the film, which is not a surprise considering her past work. Subtle dramatic emotion is one of her specialties, her performances in July Rhapsody and even Silk possessing the same understated quality that she displays here. Ekin Cheng is opaque but not wooden, and his performance is excellent in its noticeable restraint. Both effectively create characters who express themselves subtly, and even the supporting characters take on an earned reality. Also, the film's technical credits are superior, with Mark Lee's cinematography and Yee Chung-Man's production design and costumes adding to the film's richness. Claustrophobia is a hard film to truly enjoy, as it's so indirect that it requires active participation by the audience to dig beneath its exterior. What's down there, however, is substantial, possessing a weight and resonance that lasts long after the closing credits. In the end, Claustrophobia is a lot like life, which is why it's so affecting. And also so frustrating. (Kozo 2008)
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The Forbidden Legend: Sex & Chopsticks 2
Chinese: 金瓶梅Ⅱ愛的奴隸
Year: 2009
Director: Chin Man-Kei
Producer: Chin Man-Kei
Cast: Hikaru Wakana, Kaera Uehara, Serina Hayakawa, Yui Morikawa, Winnie Leung Man-Yi, Lam Wai-Kin, Samuel Leung Cheuk-Moon, Tam Kon-Cheung, Ng Chi-Hung, Wu Qing-Zhe
The Skinny: The first one was fun, the second one is mildly disturbing. While a decent genre exercise, Sex & Chopsticks II is so unpleasant that it can only disappoint - especially since the first film was so amusing. What does this have to do with chopsticks?
Review
by Kozo: The award for 2009's most unfortunate bait-and-switch goes to The Forbidden Legend: Sex & Chopsticks II. The 2008 original was a sleazy, cheesy but amusing retro experience that recalled the glory days of Hong Kong Category III erotica. Sex & Chopsticks I could never be counted among the genre's best, but the bawdy humor, over-the-top sex scenes and period setting made it a welcome blast from the past. Sex & Chopsticks II continues that trend, except it recalls another variation on the genre: the slightly disturbing, blood-spattered, sex-as-death morality play. Hong Kong has done it well before, e.g. Chinese Torture Chamber Story or even the downer ending of the original Sex and Zen. However those films managed their combination of bawdy comedy, cautionary tale, and lurid erotica thanks to varying tones and the fact that they were each standalone films. As a follow-up to the amusing original, Sex & Chopsticks II disappoints.
Like the first Sex & Chopsticks, this sequel is based on Jin Ping Mei a.k.a. The Plum in the Golden Vase, the famous 17th century Chinese novel. Like the first film, this is a loose adaptation, but it also departs from the source material even further - though that's not a big deal because purists were probably annoyed at the first film anyway. Lam Wai-Kin returns as Simon Qing, the rich scholar who deflowered nun Moon (AV star Hikaru Wakana) before deciding to take on a concubine, the small-footed Lotus (AV star Serina Hayakawa). As detailed at the end of Sex & Chopsticks I, Simon conspired with Lotus to off her dwarf husband Wu Da-Lang (Ng Chi-Hung), which marked his first act of evil related to his growing lust.
When Sex & Chopsticks II opens, Simon has since graduated to full-blown bastard, shown in his
self-admitted status as a sex addict, his rising taste for fetishes, his insensitivity towards Moon and Lotus, and his lust for other men's wives. Specifically, he targets Pinky (AV starlet Kaera Uehara), the wife of horny pal Hua Xizu (Tam Kon-Chung) and a dead ringer for Simon's first love Violetta. Using lies, aphrodisiacs, and some wife-swapping rationale, Simon plots to ravish Pinky - even if it means offing Hua Xizu along the way. Meanwhile, Wu Da-Lang's brother Wu Song (Wu Qing-Zhe) is looking to take down Simon, but Simon has some preventive measures in place. What he doesn't know is that Lotus once had a thing for Wu Song. Will she help Wu Song to exact revenge on Simon?
Actually, no. Lotus' connection to Wu Song is merely an excuse for even more softcore sex, with one scene involving Lotus gratifying herself while Wu Song is getting the tar whipped out of him. Yeah, you read that right. Sex & Chopsticks II is loaded with wall-to-wall nudity and sex scenes, so it manages to fulfill one of its expectations. However, if one expects the film to be fun, then they may be disappointed because the film isn't that. The sex scenes are much longer this time out, but most of them are portrayed as disquieting, as frequently there's some unhappy subtext going on. People here have sex while going mad, while under the influence of drugs, as part of murderous adultery, or even when they're about to die. These aren't happy times.
The above isn't technically a flaw as the original novel wasn't exactly wall-to-wall fun, either (in the original source material, Simon is an unrepentant murderer and betrayer, and dies of an aphrodisiac overdose). However, given the way the first film played out, the change in tone is off-putting. The content in Sex & Chopsticks II is still bawdy and off-color, but it also crosses the line into disturbing. Furthermore, the combination of a subdued tone and the extended sex scenes occasionally makes the movie boring. The accompanying soundtrack, which sometimes sounds like wannabe Bernard Herrmann, isn't much help either. If the filmmakers were trying to ape Lust, Caution in its "sex as tension" action, they did a pretty bad job.
As compensation, we get professional actresses. The Japanese AV starlets from the first make a return, and they're willing to do whatever the film needs, i.e. they appear naked and act like they're enjoying the sometimes-extreme love scenes. However, sometimes the film requires them to really act, and the results are uneven. Hikaru Wakana turns in the best performance as Moon, though she gets less screentime in this installment. Serina Hayakawa is rather distant as Lotus, and Kaera Uehara sometimes looks like she's laughing when she's supposed to be crying. Male lead Lam Wai-Kin is more convincing in this installment as the corrupted version of Simon Qing, but there's little continuity in his character between the two films. In the first film, he doesn't seem that bad, while in the sequel he's pretty much the worst guy ever. Character development does not seem to be a big deal here.
Asking director Cash Chin for Last Tango in Ancient China would be way beyond reasonable expectations, and fittingly the film never approaches anything resembling serious quality. However, even with dialed-down expectations, Sex & Chopsticks II doesn't satisfy as it's simply a poor follow-up to the first. Sex & Chopsticks I showed a commitment to the genre, and to making the film fun, while the second only sporadically does so. There are some moments here that feel like they echo the spirit of the first film - one sex scene involving grapes as erotic projectiles comes to mind - but by and large, Sex & Chopsticks II is a numbing dirge. Movies that try to combine the elements of both Sex & Chopsticks films should do so more evenly; splitting the film in two and making the first part more fun simply guarantees that anyone who enjoyed the first film will not enjoy the second. It could be a cinema axiom.
Sealing the deal is the appearance of Winnie Leung, who plays the pivotal role of Simon's maid Plum. Only mentioned at the end of the first film, Plum gets a big role here, but Winnie Leung is not up to the task. Aside from the 33 year-old actress being miscast in a young maiden's role, her nudity is only hinted at, with cloth, limbs, or awkward staging used to preserve Leung's modesty. It's not that the audience necessarily needs Leung to appear nude, but if the other actresses go the distance, shouldn't Leung do so also? Better yet, they could have simply hired an actress who would do what the other actors were willing to, thereby creating some consistency. But again, we're probably asking too much, since this Sex & Chopsticks sequel squelches any notion that someone was trying to make a fun genre retread, and instead reveals what the film truly is: a product designed to make quick money. That's unfortunate, and so is this: there are no chopsticks whatsoever in Sex & Chopsticks II. In the last film, there was at least one pair. This time, nada, zilch, zero. The disappointment is now even greater. (Kozo 2009)
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Give Love
Chinese: 愛得起
Year: 2009
Director: Joe Ma Wai-Ho, Leefire
Writer: Tong Yiu-Leung
Cast: Gigi Leung Wing-Kei, Wilson Chen, Shao Bing, Shaun Tam Chun-Yin, Regen Cheung Wai-Nga, Winkie Lai Mei-Yin, Crystal Cheung Man-Ga, Yang Yiu-Yiu, Hui Siu-Hung, Emily Kwan Bo-Wai, Louis Fan Siu-Wong
The Skinny: Gigi Leung and Wilson Chen star in this average romantic dramedy that's dragged below average by lousy direction. A hit in China, for what it's worth.
Review
by Kozo:
If you refuse to pay your Hong Kong taxes because of Give Love, no jury would convict you. Bankrolled in part by the government's Film Development Fund, Give Love is a Hong Kong/China co-production that makes one long for the quality Hong Kong Cinema represented by La Lingerie or Kung Fu Dunk. Yes, even some of 2008's worst movies are a step up from Give Love. Co-directors Joe Ma and Leefire (or "Fire Fire" if we do a literal translation of his name) don't just drop the ball - they fumble it out of bounds while simultaneously undercutting their star player and tearing his anterior cruciate ligament. Now he's out with a career-threatening injury and they've lost not just the possession, but the entire season. And yes, this metaphor has been egregiously extended - but there's a reason. That reason: it prevents me from talking about the actual film.
Gigi Leung stars as Leslie Chan, a marketing manager who has your usual movie romantic problems. In the opening scene, she meets airline employee Yutong (Wilson Chen), who is immediately smitten, but he's so bookish and shy that he can only privately vow to woo her if he ever sees into her again. His chance arrives one year later when she fortuitously comes to stay with him in his Hong Kong apartment. The problem: she's newly-married to his brother Hilton (Mainland star Shao Bing), meaning she's technically unavailable. However, a cutaway to China shows Hilton getting it on with his over-emotional secretary, meaning that Yutong should now have a chance with his houseguest, who's becoming a distraction already because she likes to wander around the apartment in short shorts and high heels. She also acts in a girlish sitcom manner that would charm any fan of Meg Ryan movies. How can Yutong resist?
Well, he can because he's written that way. Yutong is an egregiously righteous individual, and has a minor fit anytime anyone around him won't take responsibility for, well, anything. He harangues Leslie for spending too much time drinking with her best bud (an overacting Emily Kwan Bo-Wai), gets loudly pissed at one of those Hotcha girls for dating his married friend (Shaun Tam), and - most important of all - he gets ultra-incensed about Hilton not being able to commit properly to Leslie. His righteousness also gets in the way of dating Leslie, because how can such a righteous dude take his brother's girl - even when that brother has dumped her and has proven himself to be a complete jerk? There's something categorically admirable in Yutong's righteous ways, but obviously he's his own worst enemy.
There's some decent characterization here, and as written, Yutong is an endearing character. Unfortunately, Wilson Chen is only a shade above intolerably dull in the part, giving the character an earnest righteousness but absolutely none of the charm that Chen is capable of. Chen seems to be acting in a completely different movie than Gigi Leung, who still shows that she's got romantic comedy charm. Funny faces, girlish giggles, animated body language - even in her thirties, Leung has the goods. The problem is that she's hawking her romcom wares with the wrong partners. The script itself is not exceptionally good or bad, but it's killed by the abysmal direction, which bores from practically minute one. Joe Ma was once a youth comedy king, but his touch is muted here, and he and co-director Leefire (a.k.a. stage actor Fire Lee Ka-Wing, who appeared in Ma's Love Undercover 3) bring neither storytelling skill nor visual wit to their presumably entertaining movie. Bad continuity, choppy editing, a drab production, terrible music, inconsistent acting - this film is a clinic in substandard filmmaking.
Give Love opened in very few theaters in Hong Kong, guaranteeing box office death and a quick berth on home video. However, it's likely the filmmakers don't really care about the film's Hong Kong release because it already went wide in China and did rather well there, outselling Taiwan blockbuster Cape No.7 handily. Congratulations should be in order for the dough earned, but Give Love is so unimpressive as an actual film that the Film Development Fund could justifiably ask for its money back. Give Love is dull, uninteresting, and becomes disposable and also-ran after only ten or fifteen minutes. Even Gigi Leung, or a reference to the work of Haruki Murakami (Yutong's love for Leslie is inspired by Murakami's short story "On seeing the 100% perfect girl one beautiful April morning") can’t salvage this thing. In the end, one can only hope that the filmmakers are pocketing their paychecks with some feeling of regret. Shame would be an appropriate emotion too. (Kozo 2009)
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Look For a Star
Look for a Star (traditional Chinese: 游龍戲鳳; simplified Chinese: 游龙戏凤; pinyin: Yóu lóng xī fèng; Cantonese Yale: Yau lung hei fung) is a 2009 Hong Kong romantic comedy film that was produced and directed by Andrew Lau. Inspired by the relationship between Stanley Ho and his fourth wife, Angela Leong, the film stars Andy Lau as a millionaire, who falls in love with a feisty casino dealer played by Shu Qi. Look for a Star was shot at the MGM Grand in Macau, and was released in Hong Kong on 26 January 2009.
Chinese: 游龍戲鳳
Year: 2009
Director: Andrew Lau Wai-Keung
Writer: James Yuen Sai-Sang, Ming Tang Kit-Ming
Cast: Andy Lau Tak-Wah, Shu Qi, Denise Ho Wan-Si, Zhang Hanyu, Lam Ka-Wah, Zhang Xinyi, Maria Cordero, David Chiang, George Lam Chi-Cheung, Ella Koon Yun-Na, Yao Wen-Xue, Pei Wai-Ying, Po Po, Pei Pei, Tony Ho Wah-Chiu, Terence Yin, Pinky Cheung Man-Chi, Belinda Hamnett, Crystal Tin Yui-Lei, Rebecca Pan, Raymond Tso Wing-Lim, Monie Tung Man-Lei, Cheung Tat-Ming
The Skinny: An entertaining fairy tale romance that has the requisite pretty people and pretty sights, but is weakened by a script too in love with its central theme and cheesy moments. But for a Lunar New Year flick, it’s much better than All’s Well Ends Well.
Plot: It is love at first sight when Sam chances upon a feisty, fast-talking woman with the odd name of Milan (Shu Qi) at a Macau casino. But the catch is, she is a part-time poker dealer and a full-time cabaret dancer, “careers” not exactly congruent with his station in life. Fallen in love against all odds, this mismatched couple soon makes headline in all media which turn Milan into an It girl overnight.
Review by Kevin Ma: Andy Lau returns to contemporary romance after a string of period epics in director Andrew Lau's Look for a Star, a polished romance about whether or not class differences matter in love. Shot entirely in Macau, the film is full of pretty sights, pretty people, and it even has two established writers onboard - James Yuen Sai-Sang penned some of UFO's greatest hits and has since become an established writer/director himself, while novelist/scriptwriter Ming Tang was the original author behind the classic Andy Lau romcom Needing You. With the prime Lunar New Year release slot to prove its commercial potential, can this team do any wrong?
The answer is yes and no. While the actors themselves turn in fine performances, and the script mostly finds the right balance between charm and drama, Andrew Lau is not a director known for subtle storytelling. Here, he injects his usual brand of filmmaking, confusing overactive editing for style and hammering emphasis into every single important moment as if it's the only way the audience can understand its significance. Nevertheless, Lau can also be very good at making polished, commercial films with great entertainment value, and he also brings that ability to Look for a Star. However, in addition to being polished and commercial, at times Look for a Star is also contrived and embarrassing.
Part of the blame goes to writers Yuen and Tang, who are so into their fantasy romance world and its presumably potent themes. Just in case one story about romance in different classes wasn't enough for the audience to get the point, Look for a Star features three parallel plots about the same thing. Taking central focus is the romance between billionaire tycoon Sam (Andy Lau) and nightclub dancer Milan (Shu Qi). The two meet at a casino table when Milan, probably the nicest nightclub dancer in the world, is standing in for a friend as a card dealer at Sam's casino. For some reason, Milan mistakes Sam for another deadbeat gambler, and the two begin a friendship that quickly turns into romance, even though Milan doesn't know that Sam is the billionaire tycoon she blames for taking away her childhood playground.
Despite that little detail, Sam isn't really such a bad guy. That's not only because he's played by Andy Lau, but also because he's probably the nicest CEO in the world. He doesn't just choose to sit in the front seat of his car – he even hooks up his driver Tim (Lam Ka-Wah) with Shannon (Zhang Xinyi), an attractive real estate agent also looking for love. However, Tim has his reservations because Shannon is also a single mother of a cute little girl. Sam is even nice to construction workers like Lin Jiu (Assembly star Zhang Hanyu), who falls for Sam's right-hand woman Jo (Denise Ho, listed by her pop star name HOCC in the credits). However, their own insecurities about their respective social statuses put a strain on their potential relationship as well.
Even though the Sam-Milan romance takes center stage, the relationship between Lin Jiu and Jo is actually the most involving. The romance strips away much of the Cinderella fantasy of the former and actually creates a romance by developing characters worth caring about. While Zhang Hanyu's Lin Jiu is straightforward as a stereotypical nice guy construction worker, Denise Ho gives a charming and surprisingly self-deprecating performance as a self-conscious woman trapped between her pride in her social status and developing feelings for a regular Joe. Their back-and-forth interactions actually make up some of the more enjoyable moments during the first half of the film, and that plot is also where the film's themes are effectively conveyed without being overly didactic.
But it all goes back to stars Andy Lau and Shu Qi. Even though the two certainly have more chemistry than their last pairing in Wesley's Mystery File and make a believable couple, the plot holes make some of their early conflicts too contrived to care about. For one, if Sam is so famous that his love life, which includes three divorces, can end up on the covers of tabloid magazines, how can Milan have no idea who he is? Fortunately, the mistaken identity contrivance is ultimately shoved aside, bringing the central class difference romance theme front and center. However, unlike the effective delivery of the themes in the Lin Jiu/Jo storyline, the conflicts occur at the expense of the subplots' development, effectively bringing the film to a halt.
Look For a Star culminates in a silly finale that's as cheesy as it is awkwardly embarrassing. In a convenient device that quickly resolves the three plot lines, all the characters resolve their differences on a live television show hosted by a jerk of a host (Cheung Tat-Ming, not overacting here). Not only does the scene have some of the most obvious technical goofs in recent cinema history (what are those film cameras doing at a live TV shoot?), it also painfully wraps up every plotline in monologues of self-realization that only serve to emphasize the central theme of the need to seize happiness on one's own (At least it's better than its lame English translation of “follow your heart”). The conclusions are too easy to reach, and smack of lazy writing.
However, this is also an easy fault to overlook because Look for a Star never takes itself too seriously. Like all holiday films, it has a ton of star cameos; appearances by Maria Cordero, David Chiang, George Lam, and even Rebecca Pan help make for a good game of "spot the star". The film has a generally light tone that makes for an enjoyable sit, and even the extremely cheesy parts are good for a laugh, regardless of their intentions. Despite all of its weaknesses in plot, direction, and character development, Look for a Star undoubtedly entertains in the way that only polished, commercial romances can. It's all a little artificial, but the enjoyment one can get from it may end up being genuine. (Kevin Ma, 2009)
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Battle of Red Cliff 2
In 208 A.D., in the final days of the Han Dynasty, shrewd Prime Minster Cao Cao convinced the fickle Emperor Han the only way to unite all of China was to declare war on the kingdoms of Xu in the west and East Wu in the south. Thus began a military campaign of unprecedented scale, led by the Prime Minister, himself.
Left with no other hope for survival, the kingdoms of Xu and East Wu formed an unlikely alliance. Numerous battles of strength and wit ensued, both on land and on water, eventually culminating in the battle of Red Cliff. During the battle, two thousand ships were burned, and the course of Chinese history was changed forever.
Watch ‘Battle of Red Cliff 2’ Drama Episodes
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