Ode to Daughter of Great Tang (2021)

Una Mary Sue a palazzo

Una serie che avrebbe decisamente guadagnato se fosse stata più corta di una decina di episodi. Almeno. Ad un certo punto si ha l’impressione che le trame, le sotto-trame e le sotto-sotto–trame siano lì solo per allungare il brodo. Ed è un peccato, perché il brodo in sé è veramente gustoso, buono alla vista, all’olfatto e al gusto.
Ambientazioni e costumi sono da favola, la cinematografia apprezzabile, il commento sonoro azzeccato. E vogliamo parlare degli attori? Un cast di belle donne e uomini da sogno. Fosse tutto qui… Ma sono anche per la maggior parte ottimi attori. L’attore che recita la parte del principe Han (quello sovrappeso, per non sbagliarci) è interprete di un paio di scene che, se si fosse trattato di un film americano, gli avrebbero valso un Oscar come attore non protagonista.
Purtroppo, come spesso accade in queste opere, si comincia bene, ci si perde un po’ e ci si affloscia nel mezzo, e poi si accelera a dismisura nel finale. Finale che, in un certo modo, ci lascia intendere che potrebbe esserci un seguito alle vicende, probabilmente incentrato su una coppia diversa da quella che qui sarebbe protagonista. E dico sarebbe perché di tempo insieme questi due ne passano veramente poco. Potrebbe praticamente definirsi un drama corale. Non che ci sia qualcosa di male.
La protagonista principale è molto colta e “buona”, forse troppo. Essere così comprensiva e disponibile verso gli altri nella trama la aiuta spesso, ma alla lunga finisce per renderla un po’ antipatica. Per contro l’ex Casanova, protagonista maschile principale, è così infantilmente geloso da esser quasi patologico. Il cliché del malinteso e dell’orgoglio maschile ferito viene portato a punte di perfezione.
Lungaggini eccessive nel mezzo, qualche insistenza di troppo su situazioni stupide e alcune soluzioni tirate per i capelli mi costringono a negare il massimo dei voti. Mi attesterò su 8 stelle con lode.

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Karma is a Court Lady.

Billed as a love story between a reformed rake Sheng Chumu and a court lady Fu Rou, this is really an opulent tragicomedy about the succession turmoil that plagued the latter years of Li Shimin/Tang Taizong's reign. It is a surprisingly empathetic and riveting portrayal of the greatest Tang emperor's disappointing and much reviled crown prince Li Chengqian. It strikes me that his story is what the writer really set out to tell; all the other parallel sub-plots are much more indifferently written.

The way the drama is promoted as Fu Rou and Sheng Chumu's love story is misleading and misinforms audience expectations. Yes, I know how adorable they look together but their story is rather pedestrian and is not the main meal so they end up spending an incredible amount of time apart. Neither character has free will and their romance does not drive the narrative; it is in fact subordinated to and frustrated by the main succession plot. That is necessary as these two main parallel, interlocking plots are related primarily from Fu Rou's perspective as a court lady or official 女官 with close access to the workings of the inner palace and the imperial family's private moments.

Although Fu Rou is the eponymous character with the most screen time, this is a cardboard character that is made worse by Li Yitong's anodyne, colourless portrayal. Fu Rou is pretty much superwoman - an incredibly talented, resourceful and daring fixer who finds herself in the middle of every palace conflict large and small. She comes to the aid of anyone that appeals to her bleeding heart, taking on matters well above her pay grade. She has the temerity to lecture and chastise anyone and everyone from lowly palace servants to the emperor himself!  I would have loved this character to death if she had a bit of a dark side, an odd hobby or even some tiny flaw like picking her nose in public or something, anything. But no, Fu Rou is a suffocating paragon of virtue, moral rectitude and forgiveness; who genuinely believes that good deeds begets positive karma that pays off in the long run. But if karma is a bitch, then her title is court lady because there are heinous, irreversible and tragic unintended consequences to Fu Rou's meddling and her indiscriminate assistance to wicked people. Due to editing/censorship issues, we never get see Fu Rou reflect upon the folly and irony of her interventions or experience any sense of remorse or regret. Thus there is no character development and by the end Fu Rou to me is just a vapid, righteous prig of a character that I most resent - poor Chumu is so much better off remaining Changán's most notorious playboy.

In sharp contrast, Xu Kai's Chumu is a much more engaging, funny, relatable and outside of a lapse in the middle; a smart character that undergoes tremendous growth. It is a pity he gets so little screen time because he has a wonderful ability to just casually infuse a moment with comic relief. The comical antics of the gruffly hilarious Sheng Xianjing, Chumu, Chuling (shout out to the very funny Kris Fan), the gamine Princess Xinnan and Prince Han go a long way toward diffusing the dark undertones to the drama. Nothing made me laugh harder than Princess Xinnan balancing those dastardly bowls. Unfortunately the denizens of the inner palace and especially Fu Rou and Prince Zhou are humorlessly written and portrayed, resulting in some stifling and overly angsty inner palace arcs and a notable darkening of the overall mood in the second half.

With five or six couples, there is at surface a lot of romance in this drama but they are mostly flawed, complex and maddening relationships. This is due to the surfeit of unsavory, corrupt and chauvinistic male characters, from stalkers to lechers and murderers who simply cannot take no for an answer and lame brained female characters willing to indulge their flaws. As a result, most of the ships are leaky and not seaworthy enough to survive stormy seas. These messy, disturbing love-hate relationships are not consistently well written and there are arguably too many of them. That said, these characterizations are compatible with the times and the illogical pairings seem to curiously "work". They are certainly far more interesting than the usual lighthearted and fluffy standard fare of secondary romances.

The main appeal of this drama for me is Li Shimin, Tang Taizong's succession story, which I feel is what this drama is really about and it is compellingly portrayed. For a fictionalized account that takes a fair amount of literary license, it captures the essence of the main historical figures and remains astonishingly true to the important events of the day. The one dark stain in Li Shimin's history was the Xuanwu Gate Incident, where he personally killed both his brothers from the same mother and forced his father to abdicate in his favor. He went on to be a benevolent and revered emperor, one of the greatest in history. This drama is set in his twilight years as history appears to be on the brink of repeating itself. It is an intimate, at times a scathing expose on the insufferable privilege of imperialism and at times a compassionate account of how impotent, conflicted and utterly terrified this emperor and his beloved empress must have felt as they watch their sons at each others throats. In all the moments that count within this main arc, the writing holds up although towards the end when everything comes together, it is quite obvious that some scenes were lost to censorship.

The most phenomenal, multi-faceted and evocative performance that stands out among an absolutely fabulous cast is Li Zefeng's portrayal of the crown prince. I find it unfathomable that I have not noticed this actor before. He starts out as the highly regarded crown prince, showing so much promise and closely allied with his brother Prince Han. But he is slowly cracking under the immense pressure of being crown prince under the exacting eye of his father and the court and constantly measured up against his other talented brothers. The acting was so good I could understand why he sought refuge in frivolous pursuits and why he needed Chenji. I was surprised by how openly and sympathetically their taboo relationship is explored. It is the relationship that moved me the most, I grieved with him when it ended and I could see how he unraveled and gave in to his worst instincts. Prince Han is the other well written and well acted role. It is tragically comical how their sibling rivalry blew them up and I love how their bond is depicted with a multitude of emotions and a good dose of irony and humor.

I enjoyed this gorgeous and expensive production quite a bit although the story is quite dark and there are too many distracting sub plots and frustrating characters. Although the writing is at times lazy, fantastic acting by the veteran cast more than makes up for it. But it is definitely not the kind of story most viewers thought they would be watching when they picked this up and it definitely will not appeal to everyone. I enjoyed it enough to give it an 8.0 and would probably rate it quite a bit higher if they had diminished Fu Rou's role.

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