Siu ngo gong woo

...the plot needs to be tightened up a bit.

The first in Tsui Hark's Swordsman trilogy of movies adapted from a book or series of books (I'm not sure which) suffers from a wandering plotlines that seem to go nowhere. Interesting characters appear briefly to show off, then suddenly drop out of the plotline. In other movie adaptations, this happens in an effort to stay true to the book, but I, being chinese illiterate, can't tell you whether that's true for this series.

Despite the scattered presentation, the thrust of the plot seems to have a strong overall direction, perhaps thanks to the novel(s). The bad guys are well established as both evil and deadly. A few stereotypes are thrown into the mix. Not many people in the American audience "got" the female voiceover for the eunuch. A theme of betrayal is used effectively.

The martial arts work is good! Characters magically fly through the air and attack each other with kinetic ferocity. They destroy various objects wit h invisible forces from their palms or flicks(!) with ease thanks to slick editing and some simple effects. The effects fly at you so fast that it all seems believable. Yet Swordsman I is only a preview of a more masterful use of this stable of effects in Swordsman II.

Main complaint is that Song. Anyone who sees the movie will know the Song I'm talking about! Maybe because of casting Sam Hui, a by-then-aging HK pop star, the Song, gets repeated as a musical number no less than 3 times, including once as a flashback! Perhaps that's why he was replaced in the role by Jet Li in the sequel.

I found the English subtitling to be of the usual poor accuracy.

The first part of the Swordsman trilogy can be compared to a wuxiapian version of "Star Wars": it boasts paladins of the sword and virtue, leaders of sects being deranged by thirst of power and ambition, plus a musical score no less epic than the Lucas movie soundtrack. The story centers on the theft of the "Sacred Book of Power", a scroll which can bestow invincibility on the bearer and which everyone wants to attain for themselves. The only one unaffected by the hypocrisy and egotism that such search generate seems protagonist Lin "of the Wah Mountain", who regards swordsmanship as an art rather than as a means of dominating the rivals and who would prefer a quiet life of wine and singing, but unwittingly is thrown into the turmoil of the clash between sects. Besides the epic tone, a couple of other factors contribute to the success of the movie:

• the richness of the people who, friends or foes, surround Lin. Much attention is put to their characterization: as they have different age, background, culture and social status, every one has his/her own distinct way of speaking, of acting and harbors different desires, in accordance to their position. In particular, the character "Blue Phoenix" is full of surprises! while Sharla Cheung donates charisma, regalia and beauty to her role.

• the awkwardness of the "hero": he and his pupil don't exactly "aid" their ally in the beginning of the movie and in general are quite fun to watch! 8/10

The above title will make no sense to you until you see this wildly entertaining movie. There's no point in summarizing the plot, since it's so convoluted that it's futile to try to follow it. The film takes place in the past, and involves a scroll which describes how to obtain secret powers. Not surprisingly, various martial arts clans vie for its ownership. This sets up various great martial arts sequences, cheesy jokes, and the codesong (as opposed to codeword) which will get stuck in your head no matter how much you try to fight it.

Besides the fact that it's just plain fun, I appreciated the fact that the film includes several strong female characters. It would be great if Hollywood could learn from this and other martial arts films that women who can kick serious butt can still be feminine and smart.

If you enjoy this film, check out its sequel (Swordsman II), and also check out "The Legend of Fong Sai Yuk," with Jet Li. You'll enjoy them as well.

I bought this for 2 bux at a video store cause i thought it seemed good and it had jet Li in it. but i didn't really think it was a very good film. the story is good and some of the action scenes are pretty cool but some of them are at night and are hard to see. some of them also seem sort of stupid looking when they jump around because it looks unrealistic. it is a good film don't get me wrong but they should've filmed it better. i was a bit bored by it but i didn't really mind it. it's not the best kung fu film i have seen but it's better than some i've seen. you should check it out if you don't mind bad lighting and some bad camera angles (not many though)

THE SWORDSMAN is a movie very much in the style of the classically-influenced Wuxia movies of the 1960s, like DRAGON GATE INN (1966) and A TOUCH OF ZEN (1969), which was based in turn on a Qing Dynasty (17th Century) story by Songling Pu. These sword movies were at their most popular in the years running up to the earliest kungfu movies like Chinese BOXER (1970) and THE BIG BOSS (1971), but are not to be confused with the more familiar martial arts movies, as they have conventions and rules all their own.

Wuxia movies are typified by the spectacular sword battles where antagonists fly through the air in prodigious leaps as they cross swords. This kind of spectacle may have reached its pinnacle in the stunning sword battles seen IN CROUCHING TIGER, HIDDEN DRAGON or HERO, but it can trace its roots back to the earliest swordplay movies of King Hu and the first New Wave movies like Tsui Hark's ZU: WARRIORS OF THE MAGIC MOUNTAIN. But Wuxia films are also about honour and the code of the warrior, and in this respect resemble Samurai movies more than kungfu films.

In THE SWORDSMAN, the students of the Hua Mountain style of sword fencing have developed their Chi (internal power) to such a high degree that they are able to quite literally float through the air during their sword battles. Most powerful of all the Hua Mountain practitioners is Sifu Ngok, teacher to the young hero of the story Ling Wu Chung. Or so it seems. Early in the film, Wu Chung meeting an elder of the Hua Mountain Clan, Fung Ching Yeung, who'd gone into hiding so his enemies wouldn't try to control him by harming his family. Fung recognises Wu Chung as one of his own clan and teaches him the deadly "Nine Solitary Swordplays" and it is these techniques he uses against his own traitorous sifu.

As other reviewers have noted, "The Song" does get a bit of a caning in this movie, and I defy anyone who's heard it once to get it out of their heads in less than five days.

And it should be pointed out that Celia Yip is fooling no one with that boy disguise. Though in all fairness, this "girl disguised (badly) as boy" routine crops up a lot in Chinese stories. Anyone remember the equally gorgeous Kara Hui (Hui Ying-Hung) in EIGHT DIAGRAM POLE FIGHTER searching for brother Gordon Liu disguised as a man?

Wuxia have to be accepted on their own terms. There is a prevailing belief in China that the Chi abilities of martial artists in historical times were far superior to what contemporary kungfu experts are capable of. This is no different to the belief in the West that ancient seers were able to predict the future. Neither set of beliefs have any real credibility, but it makes for fun storytelling.

THE SWORDSMAN is a pretty good example of the genre, but to be honest, the sequel, SWORDSMAN II, is the better movie.