
In 1938, Ailian is the forty years old wife of a wealthy man, Mr. Wu, who belongs to the traditional Wu Family in China. In order to get rid off her sexual obligations with her husband, Ailian gives Chiuming, a very young concubine to him. Andre is an American priest and doctor who takes care of an orphanage and becomes the tutor of her eighteen years old son Fengmo Wu. Father Andre starts giving classes to Fengmo, Ailian and Chiuming. Then, two forbidden loves will rise: bet... (Full plot summary below)
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In 1938, Ailian is the forty years old wife of a wealthy man, Mr. Wu, who belongs to the traditional Wu Family in China. In order to get rid off her sexual obligations with her husband, Ailian gives Chiuming, a very young concubine to him. Andre is an American priest and doctor who takes care of an orphanage and becomes the tutor of her eighteen years old son Fengmo Wu. Father Andre starts giving classes to Fengmo, Ailian and Chiuming. Then, two forbidden loves will rise: between the priest and the first wife, and between the son and the concubine, having the invasion of China by the Japanese in a big picture.
Leave your thoughts about Pavilion of Women.
| Village VoiceMichael AtkinsonYim's film is kneecapped by its soundtrack twice over. |
| New York Daily NewsJami BernardIntroduces American audiences to Luo Yan, a charismatic Chinese-born actress now living in Los Angeles. She single-handedly nurtured this project to fruition, serving as producer, co-writer and star. |
| Film Journal InternationalShirley SealyThe musical score is just awful, punctuating dramatic moments with great swellings of strings, loud shatterings of cymbals. |
| TheMovieReport.comMichael DequinaThe only importance anyone is likely to associate with this overblown melodrama is self-importance. |
| New Times (L.A.)Andy KleinHas an awkwardness that defeats whatever emotional involvement it tries to achieve. |
| Boxoffice MagazineWade MajorBuck would have been proud of Pavilion of Women. |
| Washington PostMark JenkinsA film that was made in China but has the soul of a '50s Hollywood melodrama. |
| TV Guide MagazineMaitland McDonaghThe locations and production design are breathtakingly beautiful. But though cast largely with Chinese actors, it was shot in English, which no doubt made business sense but almost certainly accounts for many truly awful performances. |
| Los Angeles TimesKevin ThomasCan never rise above the melodrama of a past era, despite a splendid, impassioned portrayal by Willem Dafoe and an affecting one by Luo Yan. |
| The New York TimesDana StevensIt might have been a satisfying if not terribly original piece of historical melodrama, but its clumsiness turns it, against its best intentions, into half-baked operatic kitsch. |