Running time: 118 minutes
Starring: Ziyi Zhang, Andy Lau, Takeshi Kaneshiro, Dandan Song
Rating 9 out of 10
Typical. You wait three years for the next great Chinese film and two come along at once, both from the same director. Three months since Hero became the biggest Chinese film in Britain since Crouching Tiger, Hidden Dragon, Yimou Zhang's latest hits our screens. The proximity of the release of the two is down to the vagaries of distribution and while Hero certainly had its fans, it was to many essentially a triumph of style over substance. The epic and panoramic tale it tried to tell was overshadowed by the constant necessity to make every frame as beautiful as possible, which prevented audiences from really connecting with its characters. Zhang has learnt from his earlier work and produced a film that is as beautiful as anything we have seen on screen this year, with a look that is matched by a heartfelt and moving story. House of Flying Daggers doesn't simply equal the merits of Hero or Crouching Tiger, it exceeds them on every level.
A typically involved plot begins in 8th century China, where the fading Tang dynasty is under threat from a band of renegades known as the House of Flying Daggers. Two local policemen (Andy Lau and Takeshi Kaneshiro) are on the trail of their suspects and at the local house of ill-repute encounter the blind dancer Mei, who may or may not be all that she appears. Both of the cops fall for her and a cross-country love saga enfolds, with the men both fascinated by Mei yet unsure of who she really is, all the time being subject to fierce attacks from the dagger-wielders.
Perhaps it's because the film focuses on a relatively ordinary love triangle (rather than the regal themes of Hero and Crouching Tiger) that is succeeds on an emotional level. There's a Butch and Sundance feel to the escape through the countryside, with the three main leads each excelling in their roles. Ziyi Zhang is waif-like and mesmerising as Mei, a convincing beauty for the two lotharios to fall for. Andy Lau continues to become a deservedly familiar face to Western audiences after his appearance in the sublime Infernal Affairs trilogy, and Takeshi Kaneshiro brings out a stoic and convincing side to his character.
Even those not intrigued by the story won't fail to be impressed by the look of the film, which is simply exhilarating. Zhang has raised the bar in Chinese martial arts movies yet again. With a minimal use of obvious wire work the set-pieces are astonishing, from a stunning opening dance in the whorehouse to the many and varied attacks in the forest. Combined with the advances in filming martial arts, the art and production design is gorgeous, with luscious palettes of blue, green and white dominating the look. Despite having one of the most protracted death scene in recent memory, this is stirring stuff, and a must-see for many viewers: action-lovers, old romantics and fans of great cinema will love it.
Paul Hurley
A typically involved plot begins in 8th century China, where the fading Tang dynasty is under threat from a band of renegades known as the House of Flying Daggers. Two local policemen (Andy Lau and Takeshi Kaneshiro) are on the trail of their suspects and at the local house of ill-repute encounter the blind dancer Mei, who may or may not be all that she appears. Both of the cops fall for her and a cross-country love saga enfolds, with the men both fascinated by Mei yet unsure of who she really is, all the time being subject to fierce attacks from the dagger-wielders.
Perhaps it's because the film focuses on a relatively ordinary love triangle (rather than the regal themes of Hero and Crouching Tiger) that is succeeds on an emotional level. There's a Butch and Sundance feel to the escape through the countryside, with the three main leads each excelling in their roles. Ziyi Zhang is waif-like and mesmerising as Mei, a convincing beauty for the two lotharios to fall for. Andy Lau continues to become a deservedly familiar face to Western audiences after his appearance in the sublime Infernal Affairs trilogy, and Takeshi Kaneshiro brings out a stoic and convincing side to his character.
Even those not intrigued by the story won't fail to be impressed by the look of the film, which is simply exhilarating. Zhang has raised the bar in Chinese martial arts movies yet again. With a minimal use of obvious wire work the set-pieces are astonishing, from a stunning opening dance in the whorehouse to the many and varied attacks in the forest. Combined with the advances in filming martial arts, the art and production design is gorgeous, with luscious palettes of blue, green and white dominating the look. Despite having one of the most protracted death scene in recent memory, this is stirring stuff, and a must-see for many viewers: action-lovers, old romantics and fans of great cinema will love it.
Paul Hurley
