Ming jian

the Plot:

Swordmaster Wah acquires Chi Mud, the famous sword expert, he is advised to destroy it or he will be killed by this very sword. Wah does not believe. Suddenly he retires. but many young swordsman try to find and challenge him. Lee a young swordsman saves a girl by accident from a professional killer. Upon hearing that Wah's daughter Ying has been kidnapped, Lee goes to her rescue only to find that Ying is the girl he had rescued before. But Lee still wants to challenge Wah in spite of his love for Wah's daughter. The strikes and vengeance is revealed now...

about the film:

Personally when I first saw this film I didn't really bother that much about it. I though "ahh..sen this so many times before" but the second time I watched it.. I began to understand that this is actually a very beautiful film. the story itself isn't anything new but still gives a good purpose and meaning to the film, the fighting is of the old school, fun to watch and nicely made, locations are beautiful shot etc. so in all this film is actually worth looking up. If you like the old martials arts stylish films I would recommend to look this one up.

I give it a 7/10

About the fight scenes, despite the wire work and the special effects, it is clear in this movie that the actors really know kung fu. The fight shots tend toward middle range shots where you see the stance and the sword moves.

Instead of some many current films filled with cuts and close up that obscure the kung fu which the actors may not really know how to do anyway.

Also this movie is one of the few that deals with the idea that fighting and killing may not be as glorious and wonderful as it appears in concept.

All in a great movie with a very small cast that doesn't seem to impact the quality one bit.

Very good swordplay picture dealing with the usual themes of fighters striving to become the best and, despite being virtuous, willing to die to prove their prowess. Li Mak-Jan is a swordsman who has wandered for a number of years searching for the reclusive master swordsman Hua. After encountering two fellow swordsmen, Li comes across his old love, who tells him that not only has their town fallen on hard times (the temple is in ruins) but, worst of all, in the time he has been away she has moved on and married another man. Turns out, her husband is quite evil, of course, and just a little bit insanely jealous as well as very interested in swords, particularly those belonging to masters. The husband sends his henchman to kill Li, but Li escapes, though seriously wounded. He is rescued and cared for by a woman who just so happens to be a friend of the reclusive Master Hua. Master Hua sends word that his daughter has been kidnapped and Li agrees to rescue the daughter, so he can both finally find Hua and repay the woman for healing him. Li rescues her and finally gets to meet Hua and challenge him. The final third of the film deals with the standard framing of Li and his final battles- an interior one over not finding happiness in proving himself the greatest swordsman in the land, and he still has that nasty husband to deal with.

While fairly straightforward in story, acting, and action, it is a very good film, solid throughout. It may lack the crazy inventiveness of Duel to the Death when it comes to the fight scenes (no 15 ft tall ninjas that break apart into separate swordsmen) but it is especially satisfying in the lack of grand fights. They are kept clean and simple, until the finale, which is a fantastic duel between Li and the husband. The direction is very good, with some keen cinematography, and sets that display some nice uses of colour. Recommended for the wuxia fan.

Germany always had a strong fan basis for so-called "Easterns", Hong Kong Kung Fu films. Few other European countries had as many "Bahnhofskinos" (sleazy cinemas by the main-stations that would cater to martial arts fans) or video stores that were as well stacked with 'Golden Harvest' / 'Shaw Brothers'-products.

Ironically, "The Sword" never made it to video in Germany; the first time I saw this film, it was shown on German public TV in the early 1990's. Ironic because a) public TV generally ignores martial arts films and b) because the movie was completely uncensored, something that is very, very rare in Germany.

Primarily this is a very quiet film. Perhaps too quiet for fans of fast-paced martial arts movies but director Patrick Tam – delivering his debut film – creates an atmosphere through colour, architecture and subtle soundtrack that is rather unique in this genre. If Werner Herzog was a martial arts fan (and my gut feeling tells me he isn't), then this would probably be his favourite movie.

About the actors: neither protagonist Adam Cheng nor cherub-faced villain Norman Chu are unknowns to the seasoned martial arts fan. However, it's one of the rarer films where both occupy the main-stage, adding to the "fresh wind" that the film delivers. Both are excellent.

It has been a major weakness of many HK-productions casting twice as many extras as are required, which usually end up loitering around on screen like false money. Fortunately the director has avoided this, casting only a handful of people which gives the film an almost Spartan yet appropriately desolate atmosphere. Eddy Ko, Lau Siu-Ming or Tien Feng are veterans of the martial arts cinema, often having stared in hundreds of martial art films and this is one of the rare films where they're allowed to not only show off their martial arts- but also their acting skills.

In addition, I should be said that the film has strong moments of blood-letting, even gore – however, not in the sensational "over-the-top"-manners of Tarantino's "Kill Bill" or the comic-book violence of "Shogun Assassin". It rather reminds us of the stylized violence of the Hammer Horror-films, where blood seems to have been applied with a very fine brush.

Special praise must go to choreographer Ching Siu-Tang, perhaps best known for his work on "A Chinese Ghost Story" (again, a major video-hit in Germany), who keeps the martial arts spectacular without allowing the strings and effects to take over the fighting scenes.

I can only recommend this film to fans of stylized, well-paced martial arts films – however, if you grew up with the fast-editing, special-effects laden Wuxia films of recent days, the film may be a little too slow for your taste.

Still gets 8 out of 10 points from me.

"THE SWORD is Tam's debut feature, a wuxia fantasy about the price of pursuing one's obsession and the concomitant comedown. A young swordsman Lee (Cheng) is hellbent to challenge the retired and reclusive Fa (Tien), the No.1 swordsman. Encountering Fa's feisty daughter Ying-Chi (Hsu), his sweetheart Yin (Chen), who is married to another ambitious swordsman Lin Wan (Chu), love triangles emerge as well as sinister schemes, but the sloppy plot (rarely a good sign when there many more than two persons are credited for the script) is the weakest link, kismet is contrived and incidents are spliced together just to form a tenuous story development. For instance, Lee's possession of an evil sword leaves one scratch one's head."

read my full review on my blog: Cinema Omnivore, thanks.