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Movie Title: Crouching Tiger, Hidden Dragon
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Crouching Tiger, Hidden Dragon is simply a masterpiece. A gleaming film with vast performances by its stars, Michelle Yeoh, Chow yun stout, and especially Zhang Ziyi. Director Ang Lee along with his choreographer swear this account epic in a radiant and creative visual blueprint that makes this film one of the greatest ever made. The action scenes in this film are jaw dropping, and are unmatched by any action film ever made. Along with the action, is a grand tale and tremendous characters that assume influences from Lord of the Rings, and parallel the Jedi of the Star Wars trilogy, but remain consistent with the eastern culture and philosophy which permeates throughout the myth. In fact, the main characters, especially Jen, portrayed by the talented Zhang Ziyi, seem to query that philosophy and culture throughout the film, almost rebelling against it. This is foreshadowed in the beginning of the film when Yun-fat’s character describes how his meditation leads him to a spot of sorrow instead of enlightenment. In a later scene, Yeoh ’s character questions the buddhist teaching of Fat’s character in relation to their suppressed worship, pointing out the touch of her hand is loyal,not an illusion, even though it is of this world. However it is also the discipline of this eastern spirituality that gives these knights their power. the main character Jen, abuses this power, along with the power given to her when she posesses the Green Destiny, a magical and noteworthy sword, owned by the wizard -like, or jedi- like, character portrayed by Chow Yun-Fat. The Green Destiny, great like the ring of power in lord of the rings, or the force in Star Wars, becomes a power that threatens to lift Jen. Throughout the film, Jen rebels against the traditions of the easten culture and philosophy. Even during the action scenes, as Chow Yun-Fat’s character scolds her, she responds by telling him to cessation talking like a monk and fight. Her rebellion is also reflected in her treasure for a barbarian that lives in the desert. Jen’s rebellion is an uncouth one, however, that leads to such deep despair, that it leaves the viewer to put a question to if even the suitable treasure she found in the desert can achieve her. This movie has everything one wants in an chronicle, gigantic narrative, acting, cinematography, directing, secure. This film should obtain an Oscar for Best Represent… Crouching Tiger Hidden Dragon is truly a tall film.
There’s a telling moment approach the beginning of Ang Lee’s “Crouching Tiger, Hidden Dragon.”
In closeup, we ogle the rough-hewn, heavy wooden wheels of a peasant cart. They nestle in deep ruts musty into the stone paving blocks of a roadway entering a gated city. The cart rumbles on, its wheels fitting perfectly into the grooves veteran by unspoken centuries of fair such passing wagons…in one image we gape how tradition creates its maintain paths, how contemporary reality is fabricated to fit such traditions… The camera rises, we peruse an almost impossible panorama of Peking, the Forbidden City spreading out before us like an Oz extending to the horizon.
What a film this is. While it may not be the most wondrous thing ever…it is a safe action adventure romance with terrific acting and a much-welcome heart at the core of all that technical superiority. The action sequences are the kind that purchase the breath away and inspire a sense of dread, rather than the sort that leave you white-knuckled and sweaty.
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“Crouching Tiger…”, I am told, is representative of a specific literary/cinematic genre in China: Wu Xia…the wizard/warrior part…magic and martial arts blended. I’m not familiar with the perform, but the world portrayed here is a breathtakingly fantastical one. The record is putatively place in 19th century China, but it could be anywhere, anywhen. It is a plot of high honor and deep feelings, a state where people are spin by traditions and held captive by their forms. It is also a region of wild and mythic landscapes…from stark desert (view nowhere do we score that featureless, wide-screen linear horizon seen in David Lean’s “Lawrence of Arabia!”) to magic misty green mountains with deep sad lakes and steeply cascading streams that approach braiding, tumbling down the rockslide heights. High, reedy bamboo forests wave, wondrous, in sighing winds.
In this world people may do improbable things. The flying in this movie — properly called “wire work” in film terms — is incredible. This technique, of course, was not invented by the Wachowski’s, but the choreographer of “Crouching Tiger…”, Woo-ping Yuen, also staged the wire-fights of “Matrix.” Here, the ability of our warrior heros and villains to climb walls, to leap to the rooftops and glide from building to building — not to mention bright each other in aerial combat that soars from the peak of a mountain top to the rocks of a mountain stream in a single recall — or to duel on the very tips of dipping, waving bamboo trees — looks almost plausible, unbiased over the border of the possible, at least. The whole packed-in audience at the mammoth theater at the advanced screening at Pipers Alley in Chicago burst into spontaneous applause several times throughout…
At other moments, I found myself in weepy transport. As I consider of the fight in the treetops, true now, I become drippy — tingly of ogle and sinus.
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Apart from all else, this is vast storytelling! It has passion, adore, revenge…it expresses deep need and longing.
Pant, pant, pant…
And, yes, the woman are the action hearts of the film! Michelle Yeoh is extraordinary…but I’ve been in esteem with her for years. Here, she is more obsolete, quieter, wiser than in any role I’ve seen her in. Her performance is strong and attractive, her face registering, magically, a range of conflicting emotions, hidden secrets, crouching angers, all at once. In acting training we were always told you can’t do that. She does it.
Chow Yun Paunchy, too…I’ve been a fan of his since I first discovered John Woo’s Hong Kong crime thrillers…is the best I’ve ever seen, as well…pleasing in his silences. Strength without cruelty.
The center of the film…remarkably…is a girl who looks to be about 15! Ziyi Zhang whose date of birth is given as 1979. Zhang is from Beijing, China, and has only one other film credit. I say that she is much because her yarn is the binding element of the film. And she holds the film together! Holding her possess with Yeoh and Chow in both the dramatic material and in the balletic martial pas de deus (okay…did I spell that suitable? ) that frame the conflicts between them. She is the “Luke Skywalker” of the allotment, if you will…though “Crouching Tiger…” has everything the “Star Wars” saga had: excitement, thrills and magic, but here, it is wrapped in those things Lukasfilm wanted to give, but succeeded in delivering in only the most self-conscious way: heart and deep-placed spirit.
By the way: this is an action film, almost uniquely without violence…or, rather, the violence is so stylized, so removed into some mystical realm, that it almost disappears into dance. There is, I occupy, only one miniature splash of blood onscreen. Typically, I don’t like that — figuring that if you’re going to do a film where violence is section of it all, where action advances location, let’s have it full-bore, the “Plump Peckinpaw,” if you will. Here, however, this stylization works beautifully!
While there are those who might grumble that Jackie Chan (another accepted of mine) does it all for genuine, without wires and trick photography…okay…honest enough… But here that exuberance of motion is effect in service of a gigantic record and strong characters who carry worthwhile burdens of emotions!
So there. Enough? Objective go behold it.
I can’t wait for the DVD! I’ll probably survey it again, maybe eye it twice again, before it hits the home-market.
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