Reception
| “ | For about an hour Secret delivers a highly satisfying love triangle that made me like it. Then it turns into something else that made me love it. Chou's directorial touch is patient and slightly melancholy and reflective. | ” |
|
—Combustible Celluloid |
According to Cinema Online, Chou does a better job behind the scenes than in front of the camera. The pace of the story is satisfying, cinematography is beautiful and Chou is able to convey the magic of music: "You leave the cinema with the image of Chou's fingers dancing over the piano keys, creating that extraordinary music. It will be the image of Chou playing the piano one-handed, playing two pianos at the same time, and playing the piano with his upturned face in dream-like bliss. That is what makes this movie worth the watch. As I said, its salvation. Music, so it seems, really can be magical."
LoveHKFilm.com agrees that Chou is not the best male lead for a romantic role, he is not able to produce the range of emotions needed to touch moviegoers. Instead, the female lead Kwai Lun Mei was praised for her excellent acting. The critic regards the film as a nice, romantic, fairly good picture and that Jay Chou directs with an able hand. Cinematography and art direction was also praised for its beauty, as well as the movie score. The critic regards the illogical story as the biggest disadvantage for the film, saying that the plot often does not follow its own rules, creating logical gaps. The supporting actors were found to be boring, with the exception of Anthony Wong, who was praised for his acting diversity. According to the critic, there is a certain chemistry between Chou and Kwai but their dialogues lack depth and emotions, largely due to Chou's inability to act well. He regarded Chou as a likable, charming presence but utterly without any passion on screen, being too distant in his emotions.
Asianmovieweb is surprised to see Chou as a good director but dismisses him as an actor. The soundtrack is praised for its beauty as well as the cinematography and the attention Chou paid to tiny details. The critic also mentioned the logical gaps in the story being very distracting.
Variety regarded the movie surprisingly good, with decent acting (apart from Chou) and praised the music as well. The critic sees South Korean cinematic influences in Secret and compared the style of the movie to early Hollywood pictures from the 1940s and Taiwanese pictures from the 1970s.
movieXclusive.com states that it is rare to see such a well directed picture from a musician-turned-director but Chou is able to "pull it off". Casting choices were praised especially with regard to Anthony Wong and Kwai Lun Mei, the latter being praised for her ability to create a secretive air around herself. The best part of the movie according to the critic is the "onslaught of piano performances" that were compared to action scenes of Jet Li and Tony Jaa. However, the critic was not satisfied with the editing and pacing of the movie but nevertheless regarded the film as a successful piece of art.
Combustible Celluloid named Secret one of the "most enchanting, captivating features" of the 2008 San Francisco International Film Festival.
Read more about this topic: Secret (2007 Film)
Famous quotes containing the word reception:
“To the United States the Third World often takes the form of a black woman who has been made pregnant in a moment of passion and who shows up one day in the reception room on the forty-ninth floor threatening to make a scene. The lawyers pay the woman off; sometimes uniformed guards accompany her to the elevators.”
—Lewis H. Lapham (b. 1935)
“Satire is a sort of glass, wherein beholders do generally discover everybody’s face but their own; which is the chief reason for that kind of reception it meets in the world, and that so very few are offended with it.”
—Jonathan Swift (1667–1745)
“But in the reception of metaphysical formula, all depends, as regards their actual and ulterior result, on the pre-existent qualities of that soil of human nature into which they fall—the company they find already present there, on their admission into the house of thought.”
—Walter Pater (1839–1894)