House of Flying Daggers

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!

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.

Shi Mian Mai Fu belongs to a growing body of work that embodies a clearly Asian aesthetic packaged just as clearly for Western consumption. It is no coincidence that, each time I paused the DVD for whatever reason, the still image on the screen was as beautiful as any classic wood block print by Hiroshige or Hokusai. Xiaoding Zhao's elegant cinematography imbues every scene with haunting beauty. Think Tak Fujimoto times ten, with no disrespect meant to Fujimoto, who shoots Western movies and still manages to inject his refined visual sense into such great films as Silence of the Lambs and Sixth Sense.

Director Yimou Zhang's work in Hero was more epic, more heroic, but SMMF has a more refined sense of story. The cast, the scenery, the music, including vocal performances by the legendary Kathleen Battle; all elements conspire brilliantly to convey subtle and nuanced meaning in moments. The story, as do all good stories of this genre, revolves around a delicate interplay of love, betrayal, deception and heroism of many different kinds, and, oh yes, those stunning ballets of combat layered with evocative sounds and effects.

In a nutshell, the plot goes something like this. A beautiful blind showgirl is captured as a spy. Her captors conspire to trick her into leading them to her leader. Along the way, both hunter and quarry become entangled in a web of subterfuge and deception. Add in a beautifully tragic romantic story line, again, as all such movies must have, and never forget that the essence of all truly great tragedy is inevitability.

This movie is also known as Ambush From Ten Sides, and in that more literal translation of its title you will find its essence. A worthy successor to Hero, though not as magnificent as Crouching Tiger Hidden Dragon, in which Ziyi Zhang gives the performance of a lifetime and the one against all her other roles will be judged, and in this case, fall short, House of Flying Daggars is nevertheless a feast for the senses and a fully satisfying cinematic experience.

From Yimou Zhang, the director of Jet Li's Hero and Raise the Red Lantern, comes a spectacular tale about honor, and love.

House of Flying Daggers is the gripping, touching, and visually spectacular tale of two people, caught in a Romeo and Juliet story, and the nation at war they must fight together.

It is near the end of the Tang Dynasty era, and The Captain Jin (Kaneshiro) and Leo (Lau) tangle with Mei (Zhang), a dancer suspected of having ties to a revolutionary faction known as the House of Flying Daggers. Enraptured by her, the deputies concoct a plan to save her from capture, and Jin leads her north in what becomes a perilous journey into the unknown.

The dialogue, beautifully bright costumes, and landscapes will take you on a wonderful journey. A journey of dance, music, and beautiful words.

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.