Red Sorghum (1987) 1080p YIFY Movie

Red Sorghum (1987) 1080p

Hong gao liang is a movie starring Li Gong, Wen Jiang, and Rujun Teng. When a leprous winery owner in 1930s China dies a few days after his arranged marriage, his young widow is forced to run the winery to make a living while...

IMDB: 7.54 Likes

  • Genre: Drama | History
  • Quality: 1080p
  • Size: 1.44G
  • Resolution: 1920*1080 / 23.976 fpsfps
  • Language: English
  • Run Time: 91
  • IMDB Rating: 7.5/10 
  • MPR: Normal
  • Peers/Seeds: 2 / 8

The Synopsis for Red Sorghum (1987) 1080p

In 1930s China a young woman is sent by her father to marry the leprous owner of a winery. In the nearby red sorghum fields she falls for one of his servants. When the master dies she finds herself inheriting the isolated business.


The Director and Players for Red Sorghum (1987) 1080p

[Director]Yimou Zhang
[Role:]Ji Liu
[Role:]Rujun Teng
[Role:]Wen Jiang
[Role:]Li Gong


The Reviews for Red Sorghum (1987) 1080p


The Debut from the Chinese Danny BoyleReviewed bytim-764-291856Vote: 8/10

I refer to, of course, 2008's Olympic opening ceremony in Beijing being designed and choreographed by the visionary director of this, his first film - China's own Yimou Zhang.

And here is where it all started - though previously he had been a cinematographer - and it shows - Red Sorghum is beautiful, visually but with that extra edge of human darkness; lust, greed, violence, death, murderous invaders, all set within or close to the wavering seas of sorghum grasses, grown for making a blood-red wine.

Both blood and wine flows copiously at times as this tale gets handed down through the generations; a story that starts simply but which builds into a brazen attack on the senses, the superb use of colour mixing with excellent dramatic acting, slow-moving and evocative long takes and occasional bursts of action - and some comedy, good natural comedy that's actually a joy and which breaks down any boundaries concerned with race, or time.

I quite like the narration that occasionally ables us and the songs, more like spiritual war-dances than pretty ditties.

If you prefer your Chinese/Hong Kong movies more action-based with high- kicking martial arts or big-scaled epic battles, then this might leave you disappointed - this is more Art-house, something to ponder and savour than having your eyeballs filled with non-stop thrills.

red dawnReviewed bySnoopyStyleVote: 8/10

It's 1930s China. Jiu'er (Li Gong) is sent by her father to marry the leper winery owner Li Datou. On the way there, there are fields of red sorghum growing wild. She goes home to deliver the mule from Li Datou. She is taken out into the fields by Luohan where they have sex. Li Datou is killed by an unknown assailant and the winery is left to Jiu'er. Luohan returns drunk and making demands on her. He is thrown out. After he sobers up, he urinates into the wine and picks her up like in the field into her home. Surprisingly, the urine wine turns out to be the best ever. That night Luohan leaves and Jiu'er has a child. Nine years later, Luohan returns and the Japanese arrive.

It starts off as a funny quirky film. It has moments of originality. When the Japanese come, the movie goes to another gear and another level. It's jarring and compelling. The red color infiltrates everything like the film itself is bleeding. Li Gong makes a terrific debut. The final orgy of violence is shocking.

Such ColorsReviewed bygavin6942Vote: 7/10

In 1930s China, a young woman is sent by her father to marry the leprous owner of a winery. In the nearby red sorghum fields she falls for one of his servants. When the master dies she finds herself inheriting the isolated business.

Like Zhang's later film, "The Road Home" (1999), "Red Sorghum" is narrated by the main characters' grandson, but "Red Sorghum" lacks the flashback framing device of "The Road Home" (the viewer never sees the narrator). The cinematography by Gu Changwei makes use of rich, intense colors. Zhang himself was a cinematographer prior to his directorial debut, and worked closely with Gu. Indeed, it is the colors, coupled with the expressions of the lead actress, that really sell this film.

Wang Yichuan pointed to the director's fascination with the "strongman," and found hints of a "fascist aesthetics" in the film. This would not have occurred to me, but it is certainly visible. The question is then asked: does this carry through all his work?

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