That said, please feel free to explore this site! Feedback andĬomments are much welcome, and can be sent For recent Please do not use any of the writings in this website without West (Xi You Ji or Hsi Yu Chi), also known as the legend of the Monkey King, Sun Wukong. This website is about the Chinese legend and folktale, Journey to the In the wake of Wonder Woman and Black Panther’s active-not-reactive female characters, The Monkey King 3 feels like a missed opportunity to pass the baton to those films’ Asian sisters.Journey to the West - The Legend of the Monkey King The Queen spends the final fight unconscious, and the preceptor runs around begging for the men’s help. And despite being a thriving society free of men, when trouble rears its head, it’s Wukong and Xuanzang who swoop in to save the day. It’s a more engrossing, universal story (career or love?) even without the blurred gender lines. The subplot involving the preceptor’s complex, unrequited love with the River God is sneakily subversive, given the God being identified as male but the physical character itself being wholly androgynous, if not outright feminine (and played by a female actor, Lin Chiling). The film’s biggest crimes, however, sit with how Cheang and writer Elvis Man drop the ball on the preceptor’s failed romance and Womanland itself. In itself that’s not a terrible story, but Feng and Zhao are a less than riveting couple, making their dilemmas leaden soap opera instead of compelling crises of conscience or identity, even if that unfolds within the parameters of a fantasy romp. Once it becomes clear Xuanzang et al’s escape from Womanland hinges on love as the key to locating the gate, the film settles into long stretches of insipid romantic philosophizing, with Xuanzang wrestling with his budding romantic feelings and devotion to his Tang vows and the Queen pondering her duty, the wider world she may now be able to see and a doomsday prophecy. The Monkey King 3 didn’t need to be 3D, and it could have trimmed its romance - or refocused it. Shaun Smith’s makeup effects are strong, and it would have been nice to see them, and Cho Hwa Sung’s bright, popping production design, clearly rather than have them muddled by dark 3D glasses. Not so much the precocious child of a scrap of scroll (seriously, it’s a piece of paper as a kindergarten brat). But the film does have its moments: Xuanzang and the Queen’s journey across the misty, eerie sea the possibility the residents of Womanland turning to stone where they stand and the climactic sequence where the angry River God nearly lays waste to Womanland boast some stellar visuals. There are more than a few moments where dodgy CG reveals itself, and in late-2000s fashion, the action is so kinetic as to be nearly unfathomable. Make no mistake, The Monkey King 3 is bonkers, but in a charming, delirious sort of way, with energy to spare and another strong performance by Kwok that’s far more nuanced than it needs to be. Pivoting this time on pious monk Xuanzang’s sputtering romance with the emergent queen of a kingdom populated solely by women, Cheang does his able best to balance a love story with the heightened fantasy action expected of the previous two films, and after a rocky start he largely succeeds.
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In director Soi Cheang’s final (based on the closing shots, perhaps) installment of his three-part spin on the legend, The Monkey King 3 ventures into the book’s later chapters that are less familiar to Western audiences for a delicately cheeky and timely missed opportunity. Wu Chengen’s 100-part literary classic Journey to the West could be seen as the Iliad or the Shakespeare of China, in that it’s the literary classic that always seems ripe for reimagining.
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