), a famous actress who returns to Shanghai in December 1941, ostensibly to appear in a theatrical production directed by and co-starring her old flame Tan Na . Jean’s real reasons for returning are obscure and Hydra-headed: as soon as one is revealed three more pop up.
Along the way Jean encounters : Saul the manager of her French Concession hotel who appears friendly and obsequious but has bugged her phone and monitors her calls; Bai Mei , an “All About Eve”-style Jean Yu stan, aspiring actress, magazine reporter and yes, also a spy, with whom Jean will have a mystifying one-night-stand; Mo Zhiyin , producer of the Tan Na’s play, Japanese collaborator and would-be rapist; Mr Furuya , a Japanese official, who has access to vital secrets regarding Japan’s war...
Mild relief will come to those hardy viewers who make it past the halfway mark, however, as around then, everybody suddenly acquires a gun and it’s a mite easier to work out who is in opposition to whom by where they’re pointing the shooty end. Still, for such a bullet-riddled, betrayal-addled spy thriller, “Saturday Fiction” is a slog, and not even one rescued by Li’s star power or the potential handsomeness of 1941 Shanghai shot in black and white.
It signals a grand missed opportunity for what ought to be a compelling, classy spy caper when even the final big “twist” feels curiously weightless, despite essentially turning the mysterious, tragic Jean into one of history’s great monsters.
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