There's little to add about this film other than to say that it is one of Tsui Hark's finest. Boasting stellar production values and some unique screenwriting prowess, Mystery successfully incorporates some wildly heterogeneous narrative elements (both realistic and fantastic) into a surprisingly coherent whole, drawing the viewer into a unique universe where anything seems possible. Part political intrigue, part fantasy action, the film juggles historical facts, lighthearted comedy and tightly-choreographed fights so as to blur categorical distinctions in the name of entertainment. Dualistic in nature, it uses both grandiose, would-be realistic sets (such as the Empress' palace and towering gold Buddha) and fantasy locales (such as the creepy underground lair of Donkey Wang), to offer the viewer a fun slice of revisionist history, depicting an exciting era better known through tall tales and hear-say than through hard facts. As such, it becomes a welcome alternative to the dry and slavishly realistic period pieces made in the West, which often sacrifice fun in the mad pursuit of historical accuracy.
Gorgeous art direction at the service of historical recreation...
Highlighted by elaborate, high-flying action scenes choreographed by seasoned vet Sammo Hung and splendid art direction containing a fair amount of seamlessly integrated CGI, the film boasts a lofty budget, every bit of which is visible onscreen. Thus, we are easily drawn in beautiful China, circa 690 A.D., at the dawn of a crowning moment in the annals of history. Wu Zetian is about to embark on the throne as the first female Emperor of all times. For the occasion, she commissions the creation of a towering Buddha overlooking the royal palace. But when the official inspector, as well as a high-ranking police officer succumb to a mysterious flame that consumes them from within, the future Empress starts suspecting foul play and fears that antagonistic forces are plotting against her. That is when she decides to put old qualms to rest and summon an old rival to investigate the case. The titular lawman thus enters the scene, freed by the very same woman who jailed him for conspiracy many years ago. And luckily for everyone, most of all himself, the man is not only an expert at solving crime, but also an expert martial artist, one who will need all his wits and skills to crack the case. Forced to team up with gorgeous, whip-wielding bodyguard Shangguan Jing'er and albino police inspector Pei Donglai, both of whom seem to have a secret agenda of their own, Dee embarks on a colorful adventure along the tracks left by the mastermind behind the phantom flame affair.
...with pulp fantasy being just a step behind.
Using the basic narrative template of the private investigation, the film capitalizes on supernatural answers, which the viewer is unlikely to decipher. And while some might see this as a dishonest way to keep the viewer guessing, it's all in good fun. In fact, one could say that the film actually challenges narrative conventions rather than embracing them, spiking the narrative with twist, after twist, after twist, overly complexifying an investigation that could've been solved in the first minutes of the film. That said, while one can see the resolution of the mystery as the film's finality, it must be said that the way to get there is much more exciting than the objective, as the story finds relevance not as a series of narrative stepping stones, but as a series of set-pieces erected in the name of spectacle. Whether you, the viewer, decide to watch this as one reads a mystery novel or instead experience the film sensually as a child would is up to you. But I would suggest the latter approach.
And while the private investigation template provides a predetermined structure for the storyline, it also allows some very involving inter-personal dynamics to take hold. That said, the interplay between the three charismatic leads is what truly cements the narrative, providing several humorous innuendos, elaborate fight scenes (paramount of which pits the three against the mysterious and resourceful Chamberlain) and loads of tension by way of veiled intentions. In the tradition of the Hollywood noir, friends and foes become indistinguishable as both Dee's allies seem to play for keeps, yet also seem to share his enthusiasm. And so the poor detective must constantly watch his back, knowing that he is scrutinized by both Jing'er and Pei, who respectively report to various levels of government. Each claiming a unique background, they all entertain different motivations for finding the murderer and they all possess different, complementary skills. Lovely Jing'er is established early as a potential love interest, while being simultaneously portrayed as a supremely devoted servant of the Empress. As for creepy-looking Pei, he looks just like a typical back-stabbing sleaze bag, with just enough fighting skills to make him a worthy adversary for Dee. As the film unfolds, one is not so much preoccupied with finding the mastermind behind the two murders, but with finding where Jing'er and Pei's allegiances lie.
Pei and Jing'er are invaluable allies, or are they?
Defying logic, and physics, Mystery indiscriminately mixes reality and fantasy in a bid to tell an entertaining story free of any unnecessary constraints. And while the conclusion might not satisfy mystery fans, the film provides a little something for every genre fan. Most importantly, it reminds us of what cinema is primordially about: imagination and amazement, both of which are usually under-used by period pieces, and Western cinema in general.
3,5/5 A prime example of what genre cinema should be, a wondrous vehicle of creative imagination fueled by the viewer's faith in the magic of cinema.
