House of Flying Daggers

How much you enjoy "House of Flying Daggers" may depend strongly on how familiar you are of martial arts films as well as how accepting you are of the clichés in the genre. Some things in the film are utterly ridiculous and if you are the type who thinks too much, then you'll probably not be so impressed. For example, the film has one of the more familiar silly themes in Asian films (both Chinese and Japanese)--the blind warrior who is able to defeat practically anyone. Sure, there is a twist to it in this film, but the idea of a blind person being a master with the sword is pretty nutty. Also, the daggers that fly in this film defy every possible law of physics. So, you just have to accept this or your head might explode. And finally, only in a martial arts film can anyone fight on after having a bazillion fatal injuries (see "Throne of Blood" to see the ultimate scene like this).

The story, however, is wonderful and provided you can let yourself just sit back and absorb it all, you are in for a treat. Rarely have I seen a more exquisitely filmed movie. The use of birch trees and bamboo is amazingly artistic--as are the Fall colors. Also, the musical score is lovely and works so very well with the visual aesthetics. As far as the swordplay, martial arts and the like, it's also amazing--and light-years ahead of the wonderful old Shaw Brothers spectacles (which were great for their time). Overall, a real treat--a film full of excitement, romance and artistry. Well worth your time.

"House of Flying Daggers (Shi mian mai fu)" shows they can make movies like that anymore. This is a grand action love story that fully captures the eye and the heart, the pulse and ears. Yes, an action flick can be a date movie!

While building on the Wu-Xia tradition of literature and film that's as much historical fantasy as any rollicking Dumas adventure or the "Lord of the Rings" films, director Yimou Zhang incorporates elements we have seen elsewhere into a freshly thrilling experience.

"Crouching Tiger, Hidden Dragon" had a more sophisticated plot, but this one's twisty enough in the ever more duplicitous spies/hunter and the hunted vein.

It has a lot of plot similarities to another Ziyi Zhang-starrer, the drama of 1930's war intrigue "Purple Butterfly (Zi hudie)," minus the political lessons.

From Japanese films there's borrowing from the "Zatôichi: The Blind Swordsman" legends as well as almost as much from Kurasawa's "Hidden Fortress" that Lucas did for the "Star Wars" saga, and then borrowing forest fighting imagery from Lucas to an open meadow as magical as in "The Wizard of Oz."

"The Matrix" movies may have wowed us more with "bullet time" plus there is a lot of following arrow trajectories as in "Robin Hood: Prince of Thieves," not coincidentally as the titular rebels are stealing from the rich to benefit the poor, but the context of the weapons for Siu-Tung Ching's martial arts choreography are more varied and emotional.

Baz Luhrmann's "Moulin Rouge" is only a bit more over the top than the beautiful production design and elaborate costumes in this Peony Pavilion, but every inch of the screen and soundtrack is as operatically filled and should be experienced on a large screen.

The director's own "Hero (Ying xiong)" is more beautiful as this is missing cinematographer Christopher Doyle's aesthetics but Xiaoding Zhao's cinematographical debut captures a breathtaking variety of landscapes in straightforward storytelling. The sound design is as important, with lots of heavy breathing from tension and exertion.

While it's a much smaller cast than sweeping epics like "Dr. Zhivago," "Titanic" or "Gone With the Wind," it has that swept away feel of a love story amidst larger forces, even if for much of the movie its the force of nature of the geography of Ukraine and a bamboo forest national park, which forcefully reminded me of an elementary school unit my son's class did on how bamboo is stronger than steel.

"Warriors of Heaven and Earth (Tian di ying xiong)" showed that spectacular scenery can be a backdrop for a pedestrian movie. But like "Hero," the enormous canvas is background for zooming in on three enormously charismatic actors in a passionate and unexpectedly tricky love triangle.

Ziyi Zhang needs to watch someone other than Mary Pickford, especially some Susan Sarandon or Jeanne Moreau, to learn that there's more levels in projecting romance than smoldering ratcheting right up to jump his bones, but one has to make some allowances as this is the first as sexy as this Chinese movie and the romance does recall pre-Code Hollywood. Her beautiful shoulders are used quite provocatively.

Takeshi Kaneshiro is ravishingly captivating but Andy Lau gives him a run for your heart in surprises that revolve around the unusual plot point of a woman's willingness being paramount, which is refreshing and adds suspense and emotion to the story.

The closing Kathleen Battle song is a bit over the top, as the music throughout verges on schmaltzy as it shamelessly reinforces what you see and hear, but you are left gasping if not weeping at the end anyway.

After absolutely loving 'Hero', I couldn't wait for Zhang Yimou's latest Wuxia Pien feature to arrive on DVD. After watching it, I'm happy to say I wasn't disappointed, as it is another sumptuous, stylistic feature, which deserves all the accolades it is likely to receive.

The plot of the film is told in a more linear narrative when compared to that of 'Hero', but that is not to say it is any more straightforward. Set in the Tang Dynasty, the basic premise is nothing to write home about, featuring government officials on the trail of an underground rebel alliance 'The House of Flying Daggers'. However, there is enough characterisation and depth to hold your attention, while the (sometimes predictable) plot twists keep you guessing. Unfortunately, there is nothing entirely new about this story and it's probably familiar ground to fans of the wuxia genre. Nevertheless, it flows at a decent pace and is punctuated with enough stylistic action sequences that the 2-hour running time is quickly exhausted.

As with Yimou's impressive previous feature, Tony Ching Siu-tung takes over the action direction, producing another sterling performance. In my opinion, he is currently the top fight choreographer around after spending so many years being considered second fiddle to the likes of Yuen Wo-ping and Sammo Hung; he now deserves to be considered above them on his current output. In this instance, much of the overt stylisation evident in Hero is played down in favour of more grounded, natural martial artistry. There is still plenty of wire work and a spattering of CGI to aid the sequences, however, it is plain to see that much of the action displayed is a mix of genuine swordplay and actual technique. All the performers acquit themselves well considering none of them are formally trained in martial arts – especially Zhang Ziyi who performs impressively from start to finish.

As you would expect from a Zhang Yimou film, the visuals are majestic, with primary colours and panoramic landscapes making up much of what we see. Unfortunately, many people do not seem to take to this artistic approach, and will label the film another case of style over substance. I would disagree, as I believe it contains plenty of both with a strong cast, interesting characters and high quality action to provide the foundation for the kind of bold, sumptuous visuals, which are rare to find in modern film.

Overall, I personally prefer 'Hero' but know of plenty who would disagree. As a result, I recommend it as a definite purchase to any fan of films from this genre.

Seldom will you find, such beauty unrefined, a multi-coloured canvas, seductive elegance with prowess, that caresses like a breeze, a wind that sails throughout the trees, soaring high, gliding along, the ever changing seasons song.

As visually spectacular a piece of filmmaking that you're ever likely to come across, with some outstanding scenes choreographed to perfection, the acting and performances in perfect tune with the surroundings, all centred around deception, deceit and devotion, leaves a film that perpetually stands the test of time and nails a dagger to your heart each and every time you return.

There may be some unanswered questions at the end of the movie and yet I'd watch this film over and over again just to witness the use of costumes, the martial arts skill and how they blend to make a very palatable story. Those who are trashing this film do so senselessly. The films' lovebirds are throughly attractive but not at all bland and you root for them because they appear to belong together; they have a natural chemistry which can be difficult for two actors to have. As can be the case in Asian films, like the recent hit "Hero", the costumes and the use of color are important characters all by themselves. So many elements come together beautifully that what's also ironic is the that film could easily be a stage play. I enjoyed this immensely. Just awe-inspiring!