Director Stanley Kwan takes an unconventional approach to the film. Not only does Center Stage start when Ruan's career has already taken off (eschweing the usual cradle-to-the-grave template most movies of this type use), he uses actual footage from Ruan's films (where they are available -- only about six of her movies remain in any form) as well as interviews with her contemporaries. Kwan goes even further to break the "fourth wall" by having segments where Center Stage's actors (along with Kwan himself) talk about Ruan and how her career relates to modern Hong Kong cinema.

These types of techniques might have come off badly, like self-centered filmic mastrubation, but Kwan manages to hold everything together well, mostly through Maggie Cheung's performance. At this point in Cheung's career, she was herself being lambasted by the Hong Kong tabloid press, and thus manages to bring a lot to her role as Ruan. Additionally, her interview segments come off as honest and genuine, not fake like these "movies-within-a-movie" usually end up feeling to the viewer. It was with this role that Cheung attained international stardom. She became the first Chinese actress to win an award at a major international film festival after she took "best actress" at the 1992 Berlin Film Festival and managed to step outside the pigeonhole of "jade vase" roles she had been put into after appearing as little more than glorified window dressing in movies like Police Story.

Despite Maggie Cheung's masterful performance and the lush mise-en-scene of Center Stage, at the end of the day, it still came off as a bit empty. I just didn't feel like I learned enough about Ruan Ling-Yu. For instance, why did she stay with a series of men who were either cold or downright abusive towards her? Stanley Kwan might have not wanted to outright "speak" for Ruan, but some more insight into her life would have been helpful in bringing home her tragic end, especially for western viewers who probably are not familiar at all with her work. Despite this, Center Stage is a moving picture that proves Hong Kong film-makers are capable of doing more than blowing people up and telling toliet jokes.

In the spring of 1935, silent movie star Ruan Ling-yu took her own life, shocking the world. Her funeral was attended by hundreds of thousands of mourning fans. Yuan entered the film world at the age of 16. In the short span of 9 years, she made 29 silent movies and became the idol of tens of thousands. As she rose to fame, she also rose to infamy with scandals over her private life. Her death at such an early age has given rise to much debate: did she kill herself because of her career? Or for love? In her farewell note, Yuan wrote four words - "criticism should be feared" - and gave her final condemnation on the merciless public.

Kwan brings that quiethood and visual beauty from his classic Rouge and it seems like an appropriate filmmaking choice for Center Stage as well. It means a slow narrative, slow talking but investing time in that will reveal a compelling look at, as Maggie Cheung puts it in the opening interview segment, a legend. Now, I can very much be less than attentive and I had no prior knowledge as to what material was deleted from the film except I did know some of the documentary interview footage was deleted. Regardless of how much it has to do with cuts made to the film or not, out of the actual film characters and subplots, the one concerning Carina Lau's character of Chu Chu, a fellow actress, is an example of something that radiates importance. However, the friendship between her and Ruan seems thrown to the wayside and its inclusion therefore lacks purpose other than to briefly show the comrade between actresses. There are more underdeveloped characters, at least until the very end where Kwan does rebound. The ending 20 minutes gives us a much better portrayal of Ruan's ex husband Ta-Min (Lawrence Ng from Hail The Judge and A Chinese Torture Chamber Story) for instance and the dynamics between that relationship Ruan had and the one she instead pursued with studio head Tang Shi-Shan (actor Chin Han and the character himself was engaged in another marriage, a fact Ruan accepted fully).

The movie is set in Shanghai where the Chinese cinema was thriving at this time and the rise and fall of Ruan Ling-Yu is depicted in a loving way. Loving in the production & costume design and the filmmakers show a sense of proud in their actress queen, despite her flaws. Because Ruan, as depicted, was not an angel as a person. In her profession, she showed great skill and a desire to break out of stereotypical roles but her private life revealed a weakness in material things as she herself admits. Her leaving of Ta-Min is a black part of her arc even if she seems constantly surrounded by angelic light, courtesy of the wonderful cinematography by Poon Hang Sang. Kwan is not here to take sides. It's huge admiration but respect also means acknowledging character flaws. There's no doubt the impact Ruan had and Kwan firmly leaves that in audiences mind, especially when he juxtaposes the severely damaged black and white footage of the real Ruan Ling-Yu and the recreated scenes with Maggie Cheung. It's her character's journey that remains interesting to follow and Kwan does that employing his slow, arthouse style, without sacrificing character traits.

Featuring both Waise Lee, Cecilia Yip and Carina Lau (who, to be honest, looks more like Ruan Ling-Yu than Maggie) in supporting roles, they of course can't outshine Maggie Cheung but it's disappointing to note that neither is put to well use. Only Tony Leung Kar-Fai (one of the most suave looking Hong Kong actors), playing director Tsai Chu-Cheng manages to make any impact, despite his relatively little screen time. You can't say enough and shouldn't say enough about Maggie Cheung's award winning performance though. She is perfect and easily melts into the look, feel of the times and of actress Ruan Ling-Yu. The discussed character arc, both for its flaws and positives, are handled greatly by Maggie and scenes showing her taking directions on the spot really echoes her skill as an actress as well, being able to change emotional beats so professionally. As with Rouge and Anita Mui's performance, Stanley Kwan has again directed an award winning, memorable female lead performance to much perfection.

Shame that not all surrounding characters, as mentioned, does get the full treatment but I would be interested to see how it would play out in director Kwan's original cut. As it stands now, Center Stage is a compelling drama that looks at the movie making climate of the time (which is eerily similar to today's, in China) and features image upon image of Maggie Cheung's uncanny beauty. She truly was a moviestar at the time and still is, possessing the same versatility as Ruan Ling-Yu. There was no better casting choice and Center Stage will forever be remembered for Maggie despite flaws outside of her performance along the way.

Finally, the review at View from the Brooklyn Bridge talks about the deleted material and fans of the film should find that an interesting read as the director's cut clearly had even more of a documentary feel than the current 121 minute cut. It also clearly would've filled a few plot holes, in particular in regards to the relationship between Maggie and Tony's characters.