Dao

It's rare to see unique perspectives on film during the later '90's. The camera work was interesting. I knew nothing of the director, nor of any of the actors before seeing this movie. Therefore, I "went in blind", with no pre-conceptions. The movie has good action and some gore. Well, ample gore (a plus in my book).

Anyways, some people may find the movie a bit confusing and dis-orienting because the action is fast and furious when it happens. In fact, at times it was difficult for me see who was gashing who. I have to suppose that the camera was speeded up, but it wasn't obvious except that a person should be breathing harder than they were if they were actually moving as fast as it looked they were.

I liked the realistic "gritty" aspects of the lifestyle of the characters that was portrayed in this film. I read in another of the "comments" that the film basically "flopped". Thats unfortunate. People missed out on this one.

I can't comment on the dubbing because the film I saw was in Chinese with English sub-titles, so there was none of that "cheesy voice-makeovers" that usually go on Asian films. Were do they find those voices anyway?

Oh, and the final battle, Excellent!

It's a shame that a wonderful movie such as THE BLADE received so little coverage/attention from the masses. The only time I have heard about it was from a renounced film critic in HK, and he RAVED about it. And he sure was RIGHT! Tsui Hark did an excellent job here. The atmosphere is good, and the characters are real. As for the action, yes, it's a little too fast, but nonetheless beautifully choreographed.

This movie was the one of the first true martial artist films I have seen. Since which I have collected a fine library and yet this one still stands out for the story line. A very impressive movie that managed to keep me in rapture during the whole scenario. I would give a big recommendation to any who appreciate martial artist films or just action films to take a look at this one. Even though the movie as I saw it was fairly dark that is easily looked over as the story line pulls you in.

A beautifully filmed story of love and heroism, hate and revenge. The main character leaves in pursuit of his father's murderer, brandishing his broken sword as his weapon. Unfortunately, in his first confrontation with the murderer, a tattooed character that looks like he jumped from the pages of a comic book, our hero is brutally beaten and loses an arm. Forced to live a young boy he trains himself in a one-handed sword technique from a book called The Blade, and sets of in search of revenge again.

Tsui Hark's Dao aka The Blade (Hong Kong, 1995) is an updating of the old one armed swordsman legend that also has been depicted earlier in the history of Hong Kong cinema. Tsui's new vision is something that dropped my jaws now that I watched it for the third time after many years and without remembering almost anything about it. The film turned out to be among the best Hong Kong cinema miracles from the nineties I've seen so far.

Vincent Zhao Wen Zhuo aka Chiu Man Cheuk is Ting On and Moses Chan Ho is Iron Head and they're both very loyal to their master, an old monk who has teched them during their young lives. The film's narrator and lead female is Ling (Song Lei) who is secretly in love with both of the men but is not quite sure which one will be her loved one. Soon a violent murder takes place, a hand gets chopped off and revenge comes to mind, but none of the characters seem to care or think about their emotions but only to go after their insticts which in this case are mostly about violence and getting even. What follows is more or less (usually more) amazing imagery and bits of sword fighting from this unique film maker of East.

The film depicts people without the willing or ability to express their emotions and that's why many of the reviews seem to dislike the film telling the characters are very cold and inhuman. Of course the film would have needed an example among its characters of how a brighter life could be achieved but still the coldness and lack of expressing emotions is not there without its purpose because this is exactly the film's theme. The ending, the imagined happiness, is fortunately there but still I think there should have been more contrast to the characters' inability to be like a feeling human being. This film is pretty pessimistic as it hasn't any happy or "natural" characters at all, but since we know (those who dare to accept these sides in themselves) what kind of a creature human being is, films like this start to make much more sense and force us to look at the mirror. Would you have gone to take revenge if you were in the one armed swordsman's shoes?

The visuals here are quite amazing and this belongs alongside Ringo Lam's Burning Paradise (1994) and Billy Chung's The Assassin (1993) to the Hong Kong's hyper dark martial art films that never are as near as "light" and also humorous as some Once Upon a Time in China (1991) for instance or other box office hits. Hardly any mainstream audience will like films like Dao because they lack almost every possible entertaining or pleasant element that can be found in Hong Kong martial arts films. The film is very dark and haunting especially when the guy has lost his arm and is training in agony in the misty and menacing house with hysterical female (this character is also very bad and should not have been so noisy and really brainless all the time) taking care of him. Again the smoke and darkness is something that I simply cannot mention having found in too many Western films.

The action is so incredible it again makes me wonder how they edit their films like this. The editor in Dao is Kam Ma who has also edited John Woo's A Better Tomorrow films (1986 and 1987) among many others. The action scenes consist of many close ups and unconventional camera movements that create the kind of hysterical impact I can remember from Jackie Chan's Drunken Master 2 (1994) for example. The action goes even further in the final 15 minutes during the big fight when all the main characters finally get to take their mission to the end. This end fight is like the mind blowingly incredible finale in John Woo's A Better Tomorrow 2, choreographed by the great Ching Siu Tung: both of these finales get so over the top and (thus) separated from the rest of the film that it gets even surreal and thus makes the film's own world look even more impressive and striking and hammers the message and images to the viewer's head. The blood sprayed in these both cases is much more than just results of blade cutting flesh as it all depicts things from our main characters and their values much more effectively and graphically (to say the least) than words likely could. The finale in Dao is among the most jaw dropping scenes from any Hong Kong film of all time and once again these makers have shown their talent and capacity. Dao is not only very dark film, it is also very violent and has sudden bursts of very angry gore during the film and of course mostly in the mentioned last fight. Since there are no any real heros, no good characters and not too much sunshine in Dao, it is easy to expect that sadly this kind of film won't appeal to masses but considering that it starts to look even more valuable that films like these get still made despite that fact.

Dao also lacks all the possible stupid bits of dialogue that often can be found in Hong Kong films. The mentioned female in On's new apartment of course excluded. The film has some very effective silent scenes which is pretty rare in Hong Kong films I think. Especially the montage during On's painful training sequence is very effective as well as some of the scenes depicting Iron Head's unwillingness to use violence in the bar filled with drunken men. He just watches and tries to hold his temper and not hurt anyone. Details like these tell much more about the characters than any fastly and badly written unnatural words ever could.

Dao is a stunning experience even with its flaws and if they were corrected and fixed, this film would really be a masterpiece and maybe perfect of its kind. Now it definitely is a masterpiece of its maker, Tsui Hark, and it has the kind of potential and power that keeps on reminding the admirers of Eastern cinema of what makes these films so unique, precious and overwhelming. 8/10