Lauren Bacall, Louise Fletcher, Katherine Hepburn, Zhang Ziyi…
Whoever balks at the final name in the above list has obviously never seen House of Flying Daggers. Frankly, in one movie, Zhang Ziyi has become perhaps the greatest living actresses, and definitely one of the best in history, if not THE best. That’s how good she is in this movie.
And what a movie. Although it is not yet released in Australia yet on the big screen, I got my hands on a Hong Kong DVD, and frankly this film BLEEDS. Emotions seep from its every pore and we, the viewers, are simply along for the ride as we laugh, smile, cry and feel our pulse rates quicken. Its one of those movies where you encourage your friends to see it, but anything you say about it will spoil an aspect so you’re left babbling ‘well you HAVE to see this movie, its got… and they FIGHT and oh god I love Zhang Ziyi… there’s this dance and oh God I have to see it again!!’
The plot of this film is difficult to outline, considering that the twists are so pivotal to the film as a narrative whole. Hence I’ll skip the retelling of the softly elegant story Yimou outlines, and instead state that the plot of the film is, perhaps, the least important aspect. Which is not to say that the plot is simplistic, or boring, it just pales in comparison to the visuals. Really it’s a plot best experienced first hand, mouth agape, heart open. And you’ll thank me for it.
Yimou has managed single handedly to redefine the Kung Fu genre. Although I love Crouching Tiger Hidden Dragon, HOFD has managed to depart from the formulaic aspects Kung Fu often finds itself in. There are no ‘your technique is far more advanced than mine, you must teach me!’ type outbursts. HOFD is closer to a Shakespearean drama in scope, perhaps the simplest type of drama. And Yimou emphasizes this when he treats us to shattering close-ups of the stars.
Perhaps the time has come to mention the erotic turmoil that permeates this film so completely. The male co-star, Takeshi Kaneshiro, takes up the reigns as the male lead and is absolutely superb as the intrepid ‘Wind’, and his blazingly kinetic expressions make for enchanting viewing. The sexual chemistry between him and Ziyi is absolute and, in true dramatic style, this chemistry is created mostly through the absence of external affection rather than through it. Andy Lau makes his role his own, and to talk further about his importance on the movie would give away more than I wish to.
Yimou’s brilliance is perhaps best evidenced through his use of close-ups, as he allows the actors to use the absence of words to portray much more than words could. Silent looks almost become as important in this film as any Takeshi Kitano has made, but this film is far more fluid than Kitano’s. HOFD jumps, it soars in the treetops, emotional gravity is so strong the world is pulled from its orbit and the weather reflects the ebb and flow of feelings. Really, for a kung fu movie, the battles are almost overshadowed by the brilliance of the cinema in which it is contained. Rest assured however that the battles are simply breathtaking, and the final conflict is perhaps the greatest climax since Seven Samurai. High praise? Sure, but show me another movie that could compare.
In short, House of Flying Daggers lacks nothing. The acting is intense, the battles energetic and involving, the drama absolute. Films before this were simply a prelude, HOFD is the pay off. This is how movies stop being ‘entertainment’ and start being art. And I say start because I have a feeling Yimou hasn’t finished yet, and, as the saying goes, ‘the best is yet to come’.
We can only hope, for if so, we are in for a true treat.
Discussions
Are you a fan of Zhang Ziyi and/or her films and would like to contribute a fan review?
If so, then please feel free to post your review in a new discussion topic in Zhang Ziyi Films.
