The Warrior

When a man of the sword relinquishes violence, he finds it has terrible price. He journeys to his home village where he will find the violence he running from has preceded him.

Written and directed by an English person of Indian descent, with the original inspiration coming from a Japanese folk story, this movie is part of the new Internationalism in cinema. This is in no way, an Indian film, rather it British.

The words have been used by other people and I am going to use them too, then go and spank myself for being so unoriginal.

Simple. Beautiful. Poetic.

Ouch.

It is a great example of found cinema, where many actors are simple found at the locations, with some sets being made, and many people, and sets being real. Including one major character being played by an Indian street kid.

I like this sort of movie, and if you do you will probably love this movie too.

A slow moving and beautifully shot meditation on life and death, all set within a barren and inhospitable landscape. THE WARRIOR marked Asif Kapadia's breakout from short films into feature length cinema, and it's a stunning debut. A familiar storyline unfolds in a leisurely and unhurried way, promoting realism at all times. Don't go in thinking this is an action film due to the misleading title, because you'll be disappointed: there isn't a single sword fight to be found.

Irrfan Khan is a delight as the titular character, but the real star here is Kapadia himself. His cinematography aches with beauty, and he has a way of shooting isolated landscapes in a way that few other directors can match (for more of this check out FAR NORTH). Not since Werner Herzog's Nosferatu the Vampyre have I seen such a film shot through with this kind of artistic composition. There are shades of the Lone Wolf & Cub films here, but this meditative film turns out to be something else entirely; I really liked it.

the warrior is amazingly well filmed in great locations. the plot is not one of the most amazing to ever to be put to screen, and the ending did leave a lot to be desired. But this film had it's moments and Irfan Khan put in a great performance. but this is a film to be taken as a spectacle of cinematography and on that level i doubt any one can find reason to criticise this visually stunning film. i recommend this film if you have the time and enjoy the spectacle of an amazingly filmed movie but it doesn't have the best story line and the ending leaves a lot more questions then answers.

I watched this last night and it is so entrenched in my mind that I'm going to watch it again today.

Quite simply stunning from start to finish with well-rounded characters in their silence and simplicity.

The younger members of the cast more than keep up with those older and everyone is so utterly believable that it is more like having a glimpse into a life that once was ~ and may be yet in a far-off land ~ rather than a film.

A film that says so much without really verbalising much at all. Have oxygen at hand because it really will take your breath away!

For me, three virtues define this special film. The first is the familiarity of story. The old Oriental tale, with its motifs and themes, characters and embroidery of facts. The second - the music and magnificent photography. Not the last -the fine job of Damayanti Marfatia and Irfan Khan. It is real, real difficult to not love it. Yes, it seems long and boring and the expected fight scenes are not so many. But it is a tale. Or, not, sorry, only a poem. You discover it only if you know it, scene by scene, piece by piece, before you see it.