aw-6

This has got to be a perfect amalgation of art & kung fu film. Something pioneered by King Hu in the 60s and 70s but reaching a new pinacle under the masterful hands of Ang Lee.

Truly, I have not seen martial art fight scenes so fluid and so graceful; shot for shot, scene by scene - perfect symmetry & picture composition. Yet infused with a fevered intensity that I actually felt my pulse racing with the very first fight scene as Michelle Yeoh chased the masked intruder across the moonlit roofs of Peking.

The narrative style is another accompishment - from the delivery of a gift, the story expanded into a map of intricate plotlines, complicated characters with hidden agendas and filled with angst against society, traditions and fate. Remarkable.

15 of us saw the show together; at its conclusion, one was weeping, another was speechless, one just kept saying "fantastic" and the rest could not stop discussing character motivation, fight cheoreography and the cinematography.

Don't miss it.

The show was good but not great. It would, hopefully, revive the sword and sandal genre on a more epic scale. There were a few "big" moments like the opening battle scene but everything just peters out towards the ending. Even the gladiator fight scenes, though well cheoreographed, were not exactly epic in scale. The only other visual feast was when Comedius returned to Rome as the succeeding emperor but that was in the first third of the film!

Russell Crowe does a fine job but the most interesting role belongs to Connie Nielsen. She seemed morally ambiguous and her claims of fearing her brother and being coerced into certain actions were only half-believable. She could be more opportunistic and manipulative than cowered and a victim of circumstance. This role could be explored deeper but I'm glad there was such a character to cast some doubt and shadow in an otherwise black or white morality storyline.

Watch the show for it is a fine piece of work but NOT one of the best film that one will ever see.

This is a great piece of work. It depict the plight of 4 generations of Hungarian Jews who tried desperately to be assimilated by the country they loved. Unfortunately, their efforts kept coming to nought as they are used and abused for the country's honour but tragically neglected and persecuted when they are no longer needed. The plight of the Jewish people in Europe in the 20th century was tragic and tumultous but this film gave such dignity and strength to the central Jewish family that one can't help but admire them for their perseverence and even patriotism.

Spanning a hundred years and with Ralph Fiennes in 3 leading roles of each generation, this film is so lovingly crafted with great attention to details; especially turn of the century Europe. The numerous scenes set in the cafe take my breath away with its lighting and period costumes - incroyable! The clever usage of a live radio broadcast of the 1936 Olympic fencing final effectively captures the tension & excitement of the game. The ubiquitous & ominous black Nazi uniform filling the fencing auditorium brought on a feeling of dread and impending doom. The final scene as Ralph Fiennes finally loses his frown and stroll down the modern streets of Hungary gave a feeling of liberty & hopeful anticipation of the future.

Ralph Fiennes was a superb choice for the roles. Nobody else can convey angst as beautifully as he can - be it angst over his family, spouse, mistress, friends, country or all rolled into one! His second role, the national fencer who is the film narrator's father, was the best of the 3. It was better written and one just get swept up by his hope, triumph and tragedy. Exhilarating and poignant, this section stayed with me longest after the show.

Go see it wherever, whenever you are!