How a 2006 Chinese epic became a permanent metaphor for Beijing's spring sandstorms

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How a 2006 Chinese epic became a permanent metaphor for Beijing's spring sandstorms
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In short: Zhang Yimou's lavish 2006 film Curse of the Golden Flower was the most expensive Chinese production of its time. While its plot explores imperial intrigue and betrayal, its title unexpectedly entered the local lexicon as a colorful, enduring nickname for the heavy sandstorms that frequently blanket Beijing each spring.

Directed by Zhang Yimou, the film is a wuxia drama set in a visually opulent, albeit historically ambiguous, imperial court. While the English version claims the story takes place in the year 928 during the Tang dynasty, the Chinese screenplay suggests the Five Dynasties and Ten Kingdoms period. The film's title, Curse of the Golden Flower, is drawn from a poem by the Tang dynasty rebel Huang Chao, which describes a city covered in golden armor. This imagery became so iconic during the film's 2006 production that Beijing residents began using the term 'golden armor' to describe the city's seasonal sandstorms.

The narrative is loosely adapted from Cao Yu's 1934 play Thunderstorm, transposed into a grand, operatic setting. It follows an Emperor and Empress locked in a cycle of mutual poisoning and political maneuvering, involving their three sons and the family of the Imperial Physician. The film is noted for its extreme visual spectacle, featuring thousands of soldiers in golden armor and elaborate palace sets. Critics have debated its merits; some praise its 'operatic delirium' and 'awesome splendor,' while others argue that its baroque art direction occasionally overwhelms the story, pushing the melodrama toward the edge of high camp.

Despite mixed critical reception, the film was a significant commercial success, grossing over $78 million worldwide. It earned numerous accolades, including four awards at the 2007 Hong Kong Film Awards, and was China's entry for the 2006 Academy Award for Best Foreign Language Film. Beyond the screen, the film's influence extended into music, with star Jay Chou recording tracks like 'Chrysanthemum Terrace' and 'Golden Armor.' The film remains a polarizing but undeniable landmark in modern Chinese cinema, remembered as much for its visual excess as for its tragic, Shakespearean-level family betrayals.

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