The White Haired Witch of Lunar Kingdom
|The White Haired Witch of Lunar Kingdom|
|Mandarin||Báifà Mónǚ Zhuàn Zhī Míngyuè Tiānguó|
|Directed by||Jacob Cheung|
|Produced by||Huang Jianxin|
|Screenplay by||Kang Qiao|
|Story by||Liang Yusheng|
|Distributed by||Bona Film Group|
|Budget||100 million yuan |
|Box office||US$64.2 million|
The White Haired Witch of Lunar Kingdom is a Chinese wuxia-fantasy 3D film loosely adapted from Liang Yusheng's novel Baifa Monü Zhuan. Directed by Jacob Cheung and produced by Bona Film Group, the film stars Fan Bingbing as the title character, with Huang Xiaoming, Vincent Zhao and others among the supporting cast. Originally scheduled for release on 25 April 2014, the film was moved to 1 August 2014, then moved a day earlier to 31 July 2014.
- Fan Bingbing as Lian Nishang
- Huang Xiaoming as Zhuo Yihang
- Vincent Zhao as Jin Duyi
- Wang Xuebing as Murong Chong
- Ni Dahong as Wei Zhongxian
- Tong Yao as Ke Pingting
- Li Xinru as Tie Shanhu
- Cecilia Yip as Ling Yunfeng
- Yan Yikuan as Huangtaiji
The White Haired Witch of Lunar Kingdom was produced at a budget of 100 million yuan. Shooting started in November 2012 and ended in March 2013. During filming, Huang Xiaoming had a three-metre fall after a wire accident on the set and he fractured two toes on his left foot. He had to sit in a wheelchair for weeks, but resumed filming even though he had yet to fully recover. On 2 April 2013, Huang and Fan Bingbing attended a press conference in Beijing to talk about their experiences in filming White Haired Witch.
The film received negative reviews from audiences. The review aggregator Rotten Tomatoes reports a 0 approval rating from critics, with an average score of 4.3/10, based on 6 reviews. The Hollywood Reporter said, "it's a shame that Cheung's first film in seven years is eventually weighed down by this rushed, uneven sprawl of a story credited to five screenwriters, each of whom possibly bringing their own references (ranging from political-parable historical dramas like last year's Life of Ming, to the contemporary dramas like Infernal Affairs) and their perspective in how to make The White Haired Witch connect with a new generation of viewers. Their attempt in reinventing this tale sits uncomfortably with the one central element that couldn't be moved — that is, the troubled (and sloppily presented) romance involving the title character."
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