It is
wuxia as fine art employing Hou's familiar style: Glacial pacing, non-professional actors, long takes, minimal dialogue, and an elliptical story, all bound together with a graceful poetry.
Not exact matches
The movie is an obvious parody of sword - and martial - arts
wuxia movies, but it also serves
as an invitation to young audiences, who may find that Po's antics have sparked an appetite for the more grown - up pleasures of movies like «Crouching Tiger, Hidden Dragon» or «Curse of the Golden Flower.»
It was
as if I was simultaneously witnessing two different realities of Drunken Master: the unaltered Cantonese original and the campy English version shown all over the West, spreading the gospel of
wuxia cinema and Jackie Chan.
The
wuxia killings elevate A Touch of Sin into the territory of great revenge pictures, even
as its ideology proves less than discernible.
The advanced techniques of the Hong Kong action cinema translated from the period kung fu and
wuxia film to the modern world of cops and robbers, from swordplay to gunplay, not for the first time (it was preceded into the present by Jackie Chan's Police Story from the previous year,
as well
as Cinema City's highly profitable Aces Go Places series of comic adventures and a whole host of films from the Hong Kong New Wave like Tsui Hark's own Dangerous Encounters - First Kind, not to mention earlier films like Chang Cheh's Ti Lung - starring Dead End, from 1969), but better than anything before it.
King Hu rose to prominence in the 1960s and»70s
as a superb director of
wuxia films («A Touch of Zen»), a popular Chinese action genre of swords, sorcery and chivalrous heroes.
And lo, on Day 8 Hou Hsiao - hsien descended from on high to save the day with his long - gestating
wuxia period drama The Assassin, which immediately became almost everybody's favorite Competition film (mine included), even if many professed themselves
as much mystified
as entranced.
King Hu's 1965 Hong Kong
wuxia pian («martial chivalry» genre) classic stars Cheng Pei - Pei
as the avenging Golden Swallow, on a mission to save her kidnapped brother, and Yueh Hua
as an amiable beggar with a chorus of scruffy orphans, who plays guardian angel to the warrior woman, his drunken front hiding his true identity.
When mainland directors started to tackle the genre, though, it was more in the direction of sumptuous historical fantasies designed for international audiences (such
as Zhang Yimou's Ying xiong [Hero, 2002]-RRB- than in the redefinition of the essence of
wuxia.
Hong Kong filmmaker King Hu is known
as the man who elevated
wuxia films to a new level and inspired countless others to follow in his footsteps.
This film didn't impress me quite
as much
as Call of Heroes did unfortunately, but it's still a solid entry to the
wuxia genre.
Dragon Inn: produced by Tsui and directed by Raymond Lee, this remake of King Hu's 1967 Dragon Gate Inn stands
as one of the most iconic of the Nineties wave of
wuxia pictures.
Though all
wuxia films serve fantasy, the best ones make you feel
as if this fantasy could be reality, and The Hidden Sword never quite reaches beyond artifice for artifice's sake.
As the legend of Wong Kar - wai goes, the movie that broke the Hong Kong director internationally, 1994's Chungking Express, was an improvisational lark, a way to blow off steam after the grueling desert shoot of his delirious
wuxia epic Ashes of Time.
Drawing on King Hu's 1967
wuxia classic Dragon Inn,
as well
as his own (uncredited) 1992 remake, plus Yojimbo, Kagemusha, and any number of other cinematic touchstones, Tsui Hark's Flying Swords of...
As a wuxia film (a particular type of fantastical drama / action film involving Chinese martial artists and set in deep history), its loveliest resonances are found its finely executed martial arts sequences, costuming and period setting, as well as the still charisma of Shu Qi's performanc
As a
wuxia film (a particular type of fantastical drama / action film involving Chinese martial artists and set in deep history), its loveliest resonances are found its finely executed martial arts sequences, costuming and period setting,
as well as the still charisma of Shu Qi's performanc
as well
as the still charisma of Shu Qi's performanc
as the still charisma of Shu Qi's performance.
But
as far
as I've seen, no one has yet taken up the black mantle of the New Wave
wuxia film.
This is definitely true in cases where the MMOs draw on quintessentially Eastern concepts, such
as wuxia MMOs like Blade and Soul.