1,749 reviews
I just saw this film today. I was totally captivated... when it was all over, and the credits began to run, it took me a couple of seconds to realize where I was. I didn't want to get out of my seat. And once I got out of the theatre, I couldn't even talk about it for an hour or so. I kept running the details over and over in my head. It's rare that a film has such an impact on me. The cinematography was stunning. The special effects were beautifully done. The characters' moves were effortless. The acting was wonderful. I really think that Michelle Yeoh should have been nominated for an Oscar for Best Actress. I thought that the effects and storyline complimented each other brilliantly. There were so many different layers to the plot. There were many things that couldn't be explained with dialogue that were expressed in the characters' faces. This film had lighthearted moments, heartwrenching moments, romantic interludes, inspirational sentiments, wonderful plot twists, superb acting, beautifully done fight scenes, never before seen special effects...it had it all. Some scenes may have been a little over the top, but it's *fantasy*... and yet, after a few brief moments, it somehow became completely believable. That's how much this film draws you in. This is a one of a kind film; there is just no comparing it to any other. It transports you to another place and time. I highly recommend it.
Crouching in the shadows, hiding in the dark, entangled with emotion, an unobtrusive heart, waiting for a moment that may never be revealed, the chance to draw back shades, unlock its passions, remove its seals.
Seamlessly flowing like water over weathered stone, as elegant and enchanting a tale of right verses wrong, good verses bad, learning and forgiving as you'll likely find. The cinematography is sublime, the acting and performances as good as they get, the message as simple as any placed on a screen. Immerse yourself in a truly wonderful piece of cinema that perpetually stands the test of time.
Seamlessly flowing like water over weathered stone, as elegant and enchanting a tale of right verses wrong, good verses bad, learning and forgiving as you'll likely find. The cinematography is sublime, the acting and performances as good as they get, the message as simple as any placed on a screen. Immerse yourself in a truly wonderful piece of cinema that perpetually stands the test of time.
There are two movies in the martial art fiction genre that are competing against each other for my no. 1 wuxia movie: Hero (by Yimou Zhang) and Crouching Tiger, Hidden Dragon. Now, tbh, the score is so tied that I'll choose the first one I saw and therefore had more time to grow inside my heart, namely Hero, BUT... that isn't to say there is one movie better than the other. If I saw this one first, it would have been my favorite.
It's true that Hero succeeds this movie and I'm not sure if Zhang hasn't drawn inspiration from Ang Lee's movie but I think Hero tackles some themes that one rarely sees being explored whereas Crouching Tiger feels a bit more ''western'' in its approach, especially with that mystery subplot. That makes it a bit easier to watch and doesn't require that much patience (though I, as an Eastern European, had a hard time at the beginning distinguishing people, maybe because I'm not yet used to that Manchurian queue hairstyle).
I've found the cinematography exquisite. There was one scene when Jen knelt down in water in the middle of a cave and looked up to the dark sky while the rain was washing her from her previous sins, baptizing her in the name of good. It was just splendid. Another magnificent scene happened in the pine forest but I can't describe in into words, you have to see it with your own eyes.
I've already adored Ziyi Zhang from Memoirs of a Geisha but now I think I'm falling in love with her :)) . Michelle Yeoh was a well-received presence, as always. Her character brought a balance between the more romantic, juvenile world of youth where family and society hinders relationships and the more mature world of adults where you are so often your own hurdle, not allowing yourself to move further and express your true feelings.
A 9,4 out of 10 from me.
It's true that Hero succeeds this movie and I'm not sure if Zhang hasn't drawn inspiration from Ang Lee's movie but I think Hero tackles some themes that one rarely sees being explored whereas Crouching Tiger feels a bit more ''western'' in its approach, especially with that mystery subplot. That makes it a bit easier to watch and doesn't require that much patience (though I, as an Eastern European, had a hard time at the beginning distinguishing people, maybe because I'm not yet used to that Manchurian queue hairstyle).
I've found the cinematography exquisite. There was one scene when Jen knelt down in water in the middle of a cave and looked up to the dark sky while the rain was washing her from her previous sins, baptizing her in the name of good. It was just splendid. Another magnificent scene happened in the pine forest but I can't describe in into words, you have to see it with your own eyes.
I've already adored Ziyi Zhang from Memoirs of a Geisha but now I think I'm falling in love with her :)) . Michelle Yeoh was a well-received presence, as always. Her character brought a balance between the more romantic, juvenile world of youth where family and society hinders relationships and the more mature world of adults where you are so often your own hurdle, not allowing yourself to move further and express your true feelings.
A 9,4 out of 10 from me.
- AlbertCinefilu
- Jan 16, 2021
- Permalink
What people who aren't Chinese and who don't know much about Chinese culture fail to understand, is that the warrior mythology portrayed in films like Crouching Tiger, Hidden Dragon and Hero has its roots in a particular genre of fiction that has been around much longer than television or film.
Having grown up reading a bunch of these stories of epic fantasy, I remember being surprised when I went to watch CTHD in the theaters, and saw the audience break out in laughter at the flying stunts. I suppose the concept probably does seem ridiculous to foreigners.
The whole deal with the flying is this:
In the stories, the world of "Giang Hu" mentioned in CTHD is the unconventional part of society in which the characters that practice high transcendent martial arts exist. "Giang Hu" literally translates to something like "lakes and rivers", which kind of is a cultural allusion to the fact that most of these people wander a whole lot participating in great duels of swordsmanship and all kinds of tragic drama.
One of the forms of transcendent martial arts is "chin guon", which translates to something like "the art of lightness". It's a skill that these warrior folk develop from a young age using various methods that make it so they can move as if they were light as a feather. I think the idea is that they're trained so that they progressively have less and less of a perception of their own weight, and thus they can run up walls and fly across rooftops in style.
There's another type of martial art which involves transmitting "chi" (spiritual essence or whatever you want to call it) through your hands or fingertips and into the pressure points of others, either doing them harm, rendering them unable to move, or restoring some of their strength.
If you don't understand that it's another culture's fiction/mythology and can't get over that it defies known physics and medicine etc., well, too bad.
At the same time, look at acupuncture. Millions swear by the benefits of acupuncture. Hell, my father had a stroke that paralyzed half his face and went to four separate doctors. They couldn't do a damn thing. He then went to an acupuncturist and after two sessions the paralysis was gone. Conventional medicine still has no idea how acupuncture could possibly work, yet a lot of doctors will accept it as a viable option. Who the hell knows, maybe once upon a time in China people could fly.
I find Chinese warrior mythology pretty interesting, and the problem is that these novels do not translate well. I'm not sure if anyone has ever tried. A lot of what goes on in them has a lot of cultural relevance and wouldn't be readily understood by certain people who have Western sensibilities. Hong Kong and Taiwan have for a couple of decades produced a lot of television shows that portray these stories, but they're mostly pretty cheesy like American soap operas.
Which is why CTHD is semi-important as a film. It's the first film to expose a lot Americans to this facet of Chinese mythology, and I hope it's not the last.
Having grown up reading a bunch of these stories of epic fantasy, I remember being surprised when I went to watch CTHD in the theaters, and saw the audience break out in laughter at the flying stunts. I suppose the concept probably does seem ridiculous to foreigners.
The whole deal with the flying is this:
In the stories, the world of "Giang Hu" mentioned in CTHD is the unconventional part of society in which the characters that practice high transcendent martial arts exist. "Giang Hu" literally translates to something like "lakes and rivers", which kind of is a cultural allusion to the fact that most of these people wander a whole lot participating in great duels of swordsmanship and all kinds of tragic drama.
One of the forms of transcendent martial arts is "chin guon", which translates to something like "the art of lightness". It's a skill that these warrior folk develop from a young age using various methods that make it so they can move as if they were light as a feather. I think the idea is that they're trained so that they progressively have less and less of a perception of their own weight, and thus they can run up walls and fly across rooftops in style.
There's another type of martial art which involves transmitting "chi" (spiritual essence or whatever you want to call it) through your hands or fingertips and into the pressure points of others, either doing them harm, rendering them unable to move, or restoring some of their strength.
If you don't understand that it's another culture's fiction/mythology and can't get over that it defies known physics and medicine etc., well, too bad.
At the same time, look at acupuncture. Millions swear by the benefits of acupuncture. Hell, my father had a stroke that paralyzed half his face and went to four separate doctors. They couldn't do a damn thing. He then went to an acupuncturist and after two sessions the paralysis was gone. Conventional medicine still has no idea how acupuncture could possibly work, yet a lot of doctors will accept it as a viable option. Who the hell knows, maybe once upon a time in China people could fly.
I find Chinese warrior mythology pretty interesting, and the problem is that these novels do not translate well. I'm not sure if anyone has ever tried. A lot of what goes on in them has a lot of cultural relevance and wouldn't be readily understood by certain people who have Western sensibilities. Hong Kong and Taiwan have for a couple of decades produced a lot of television shows that portray these stories, but they're mostly pretty cheesy like American soap operas.
Which is why CTHD is semi-important as a film. It's the first film to expose a lot Americans to this facet of Chinese mythology, and I hope it's not the last.
As Ang Lee, I grew up reading wuxia novels in Taiwan. Those novels usually mixed engrossing history, thrilling action, enchanting romance. But when these novels were made into movies or TV series, none of them could match my imagination. It's either because of wrong casting, bad acting, tedious costumes, sloppy storytelling, minimal budget (so everything is shot in studio rather than in the grand Chinese landscapes as they were told in books), fake action... I could go on and on. Now Ang Lee finally made a wuxia film that captures my imagination and fulfills my dream of childhood.
The casting of CTHD is perfect. No disrespect to Jet Li, but Jet Li would not make Li Mu Bai into what he should be: noble, wise but weary. Chow Yun Fat conveys the unspoken feelings of Li Mu Bai in a way I can't imagine anyone else can. But he's known for his acting, Michelle Yeoh was known for her fighting skills. Here in CTHD, she proves herself as an excellent dramatic actress. The secrete longing for Li and the confusion of Li's true feelings were clearly conveyed by her eyes. The scenes between them are heartbreaking. Zhang Zi Yi is a true discovery! What a wonderful talent to steal scenes after scenes from the veterans around her. She ran from looking innocent, haughty, feisty to loving and distraught. She made the complex Jen a real flesh and blood believable human being. Chang Chen made a perfectly sexy and charming bandit.
The scenery and the photography was beyond belief. The majestic landscapes of China match my imagination when I read all the beautiful Chinese poems of the Tang and Sung dynasties. No wonder those poets could come up with those masterpieces. They sure had the best inspiration. Peter Pau not only captured the landscapes and the settings, he also managed to capture the fast-as-lightening action wonderfully. The shot of Jen gliding over water just lodged in my mind. The soundtrack is also excellent. Tan Dun used different instruments to match the different locales. He mixed in Central Asian music in the desert sequence and Chinese flute in the Southern China scenes. Yo-yo Ma's cello in the main theme makes me want to weep everytime I hear it.
The storytelling was also done expertly. As a romantic-at-heart, I love the desert romance between Jen and Lo. It's one of the most charming and believable love stories that I can remember. Most people gave credit of the fighting to Yuen Wo Ping. I'd give kudos to Ang Lee. I've seen Yuen's martial art films before, but they're never done in such an imaginative and artistic way. The artistic vision has to come from Ang Lee.
To sum it up, three cheers for Ang Lee! You not only fulfilled your childhood dream, you fulfilled mine too. It's such a pleasure to finally see a wuxia novel be done right. Thank you! Thank you! Thank you!
The casting of CTHD is perfect. No disrespect to Jet Li, but Jet Li would not make Li Mu Bai into what he should be: noble, wise but weary. Chow Yun Fat conveys the unspoken feelings of Li Mu Bai in a way I can't imagine anyone else can. But he's known for his acting, Michelle Yeoh was known for her fighting skills. Here in CTHD, she proves herself as an excellent dramatic actress. The secrete longing for Li and the confusion of Li's true feelings were clearly conveyed by her eyes. The scenes between them are heartbreaking. Zhang Zi Yi is a true discovery! What a wonderful talent to steal scenes after scenes from the veterans around her. She ran from looking innocent, haughty, feisty to loving and distraught. She made the complex Jen a real flesh and blood believable human being. Chang Chen made a perfectly sexy and charming bandit.
The scenery and the photography was beyond belief. The majestic landscapes of China match my imagination when I read all the beautiful Chinese poems of the Tang and Sung dynasties. No wonder those poets could come up with those masterpieces. They sure had the best inspiration. Peter Pau not only captured the landscapes and the settings, he also managed to capture the fast-as-lightening action wonderfully. The shot of Jen gliding over water just lodged in my mind. The soundtrack is also excellent. Tan Dun used different instruments to match the different locales. He mixed in Central Asian music in the desert sequence and Chinese flute in the Southern China scenes. Yo-yo Ma's cello in the main theme makes me want to weep everytime I hear it.
The storytelling was also done expertly. As a romantic-at-heart, I love the desert romance between Jen and Lo. It's one of the most charming and believable love stories that I can remember. Most people gave credit of the fighting to Yuen Wo Ping. I'd give kudos to Ang Lee. I've seen Yuen's martial art films before, but they're never done in such an imaginative and artistic way. The artistic vision has to come from Ang Lee.
To sum it up, three cheers for Ang Lee! You not only fulfilled your childhood dream, you fulfilled mine too. It's such a pleasure to finally see a wuxia novel be done right. Thank you! Thank you! Thank you!
- jasmine_kung
- Dec 30, 2000
- Permalink
There's a telling moment near the beginning of Ang Lee's "Crouching Tiger, Hidden Dragon."
In closeup, we see the rough-hewn, heavy wooden wheels of a peasant cart. They nestle in deep ruts worn into the stone paving blocks of a roadway entering a gated city. The cart rumbles on, its wheels fitting perfectly into the grooves worn by unspoken centuries of just such passing wagons...in one image we see how tradition creates its own paths, how contemporary reality is fabricated to fit such traditions... The camera rises, we see 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: a superb action adventure romance with terrific acting and a much-welcome heart underlying the technical superiority.
"Crouching Tiger...", I am told, is representative of a specific literary/cinematic genre in China: Wu Xia...the wizard/warrior piece...magic and martial arts blended. I'm not familiar with the form, but the world portrayed here is a breathtakingly fantastical one. The story is putatively set in 19th century China, but it could be anywhere, anywhen. It is a place of high honor and deep feelings, a place where people are bound by traditions and held captive by their forms. It is also a place of wild and mythic landscapes...from stark desert (thought nowhere do we get that featureless, wide-screen linear horizon seen in David Lean's "Lawrence of Arabia!") to magic misty green mountains with deep dark lakes and steeply cascading streams that come braiding, tumbling down the rockslide heights. High, reedy bamboo forests wave, wondrous, in sighing winds.
In this world people may do amazing things. The flying in this movie -- properly called "wire work" in film terms -- is fantastic. 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 soar from building to building -- not to mention engaging each other in aerial combat that soars from the peak of a mountain top to the rocks of a mountain stream in a single take -- or to duel on the very tips of dipping, waving bamboo trees -- looks almost plausible, just over the border of the possible, at least. The whole packed-in audience at the big 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 think of the fight in the treetops, right now, I become drippy -- tingly of eye and sinus.
Apart from all else, this is grand storytelling! It has passion, love, revenge...it expresses deep need and longing.
And, yes, the woman are the action hearts of the film! Michelle Yeoh is wonderful...but I've been in love with her for years. Here, she is more mature, quieter, wiser than in any role I've seen her in. Her performance is strong and moving, 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 Fat, 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...magnificent in his silences. Strength without cruelty.
The center of the film 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. She is remarkable. Her story is the film's binding element. And this newcomer holds it together! Holding her own with Yeoh and Chow in both dramatic material and in the balletic martial pas des dieux's that frame the conflicts between characters. She is the "Luke Skywalker" of the piece, if you will...though "Crouching Tiger..." has everything the "Star Wars" saga aspires to: excitement, thrills and magic. Here however, technical fireworks are wrapped heart and deeply resonant spirit. Elements Lukasfilm wanted to have, but which it succeeded in providing only in the most self-conscious way.
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 believe, only one small splash of blood on-screen. Typically, I don't like that -- figuring that if you're going to do a film where violence is part of it all, where action advances plot, let's have it full-bore, the "Full Peckinpaw," if you will. Here, however, this stylization works beautifully with action sequences that take the breath away and inspire a sense of awe, rather than simply leave you white-knuckled and sweaty.
There are those who will grumble that Jackie Chan (another favorite of mine) does it all for real, without wires and tricks. True enough... But here that exuberance of motion is in service of a grand story and strong characters who carry worthwhile emotional burdens!
I won't be able to wait for the DVD, and will probably see it again, perhaps see it twice before it hits the home-market.
My recommendation: Just go see it.
In closeup, we see the rough-hewn, heavy wooden wheels of a peasant cart. They nestle in deep ruts worn into the stone paving blocks of a roadway entering a gated city. The cart rumbles on, its wheels fitting perfectly into the grooves worn by unspoken centuries of just such passing wagons...in one image we see how tradition creates its own paths, how contemporary reality is fabricated to fit such traditions... The camera rises, we see 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: a superb action adventure romance with terrific acting and a much-welcome heart underlying the technical superiority.
"Crouching Tiger...", I am told, is representative of a specific literary/cinematic genre in China: Wu Xia...the wizard/warrior piece...magic and martial arts blended. I'm not familiar with the form, but the world portrayed here is a breathtakingly fantastical one. The story is putatively set in 19th century China, but it could be anywhere, anywhen. It is a place of high honor and deep feelings, a place where people are bound by traditions and held captive by their forms. It is also a place of wild and mythic landscapes...from stark desert (thought nowhere do we get that featureless, wide-screen linear horizon seen in David Lean's "Lawrence of Arabia!") to magic misty green mountains with deep dark lakes and steeply cascading streams that come braiding, tumbling down the rockslide heights. High, reedy bamboo forests wave, wondrous, in sighing winds.
In this world people may do amazing things. The flying in this movie -- properly called "wire work" in film terms -- is fantastic. 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 soar from building to building -- not to mention engaging each other in aerial combat that soars from the peak of a mountain top to the rocks of a mountain stream in a single take -- or to duel on the very tips of dipping, waving bamboo trees -- looks almost plausible, just over the border of the possible, at least. The whole packed-in audience at the big 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 think of the fight in the treetops, right now, I become drippy -- tingly of eye and sinus.
Apart from all else, this is grand storytelling! It has passion, love, revenge...it expresses deep need and longing.
And, yes, the woman are the action hearts of the film! Michelle Yeoh is wonderful...but I've been in love with her for years. Here, she is more mature, quieter, wiser than in any role I've seen her in. Her performance is strong and moving, 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 Fat, 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...magnificent in his silences. Strength without cruelty.
The center of the film 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. She is remarkable. Her story is the film's binding element. And this newcomer holds it together! Holding her own with Yeoh and Chow in both dramatic material and in the balletic martial pas des dieux's that frame the conflicts between characters. She is the "Luke Skywalker" of the piece, if you will...though "Crouching Tiger..." has everything the "Star Wars" saga aspires to: excitement, thrills and magic. Here however, technical fireworks are wrapped heart and deeply resonant spirit. Elements Lukasfilm wanted to have, but which it succeeded in providing only in the most self-conscious way.
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 believe, only one small splash of blood on-screen. Typically, I don't like that -- figuring that if you're going to do a film where violence is part of it all, where action advances plot, let's have it full-bore, the "Full Peckinpaw," if you will. Here, however, this stylization works beautifully with action sequences that take the breath away and inspire a sense of awe, rather than simply leave you white-knuckled and sweaty.
There are those who will grumble that Jackie Chan (another favorite of mine) does it all for real, without wires and tricks. True enough... But here that exuberance of motion is in service of a grand story and strong characters who carry worthwhile emotional burdens!
I won't be able to wait for the DVD, and will probably see it again, perhaps see it twice before it hits the home-market.
My recommendation: Just go see it.
Crouching Tiger is Ang Lee's take on the Wu Xia tradition of film making. Wu Xia, for those not familiar with the style, evolved out of popular Chinese fiction. It contains formulaic elements such as honourable warriors, powerful swordswomen, powerful swords, and often magic and mythical beasts. Possibly, it has a parallel with sword and sorcery pulp literature and even Western romances.
Although he grew up in Taiwan, not Hong Kong or China, Ang Lee has said he has always wanted to make a Wu Xia film. When he did, he brought sophistication and strong production values which, while not uncommon in mainstream Chinese cinema, was less common in the martial arts or Wu Xia traditions.
Make no mistake; Crouching Tiger is a beautiful, beautiful movie. The colours are rich, the light dances and the movements are balletic. But unlike lesser imitations, such as Hero, it is much more than that just stylish production and mesmerising action.
Most films (Western or Eastern) have a rigid plot against which characters move. At worst the characters become ciphers; they advance the story by making choices regardless of whether these choices are in keeping with their character. Crouching Tiger, like the best of cinema, has dynamic characters whose internal struggles advance the plot. The dog wags the tail, not the other way around.
At the heart of Crouching Tiger is the relationship between Li Mu Bai (Chow Yun-Fat) and Yu Shu Lien (Michelle Yeoh). Mu Bai is looking for a way out of the Gang Ho (Warrior) lifestyle he joins a monastery, as a route to enlightenment and peace, but cannot cast aside his unrequited love for Shu Lien (another warrior). On the brink of declaring their love for one another, Mu Bai's Green Destiny Sword is stolen, and his arch enemy returns. He must temporarily put aside his feelings to recover the sword and bring his master's killer to justice Seeming to take a fair chunk from his previously directorial role, Sense and Sensibility, Ang Lee weaves a story which tragically juxtaposes the loving and giving but repressed relationship of Mu Bai and Shu Lien, with the fiery, wilful and destructive passions of Jen Yu (Zhang Ziyi) and Lo (Chang Chen). The result, for me, was breathtaking.
Some critics have suggested that the characterisation is quite slight. I think this just demonstrates the high standard to which they were prepared to judge this film. Ang Lee perfectly marries action/adventure with drama. The results may not please purists from either camp, but for the rest of the audience it is pure magic.
In many ways, Crouching Tiger Hidden Dragon is pure Wu Xia. But it has also re-invented the genre and given it artistic credibility. The greatest joy of the film is watching great Hong Kong stars like Chow Yun-Fat and Michelle Yeoh being given characters with depth and watching them fill the screen with their performances. The film also benefits from great performances from Zhang Ziyi and a very under-rated Chang Chen.
Quite simply, Crouching Tiger has everything. It is beautiful, breathtaking and deeply moving. 9½ /10
Although he grew up in Taiwan, not Hong Kong or China, Ang Lee has said he has always wanted to make a Wu Xia film. When he did, he brought sophistication and strong production values which, while not uncommon in mainstream Chinese cinema, was less common in the martial arts or Wu Xia traditions.
Make no mistake; Crouching Tiger is a beautiful, beautiful movie. The colours are rich, the light dances and the movements are balletic. But unlike lesser imitations, such as Hero, it is much more than that just stylish production and mesmerising action.
Most films (Western or Eastern) have a rigid plot against which characters move. At worst the characters become ciphers; they advance the story by making choices regardless of whether these choices are in keeping with their character. Crouching Tiger, like the best of cinema, has dynamic characters whose internal struggles advance the plot. The dog wags the tail, not the other way around.
At the heart of Crouching Tiger is the relationship between Li Mu Bai (Chow Yun-Fat) and Yu Shu Lien (Michelle Yeoh). Mu Bai is looking for a way out of the Gang Ho (Warrior) lifestyle he joins a monastery, as a route to enlightenment and peace, but cannot cast aside his unrequited love for Shu Lien (another warrior). On the brink of declaring their love for one another, Mu Bai's Green Destiny Sword is stolen, and his arch enemy returns. He must temporarily put aside his feelings to recover the sword and bring his master's killer to justice Seeming to take a fair chunk from his previously directorial role, Sense and Sensibility, Ang Lee weaves a story which tragically juxtaposes the loving and giving but repressed relationship of Mu Bai and Shu Lien, with the fiery, wilful and destructive passions of Jen Yu (Zhang Ziyi) and Lo (Chang Chen). The result, for me, was breathtaking.
Some critics have suggested that the characterisation is quite slight. I think this just demonstrates the high standard to which they were prepared to judge this film. Ang Lee perfectly marries action/adventure with drama. The results may not please purists from either camp, but for the rest of the audience it is pure magic.
In many ways, Crouching Tiger Hidden Dragon is pure Wu Xia. But it has also re-invented the genre and given it artistic credibility. The greatest joy of the film is watching great Hong Kong stars like Chow Yun-Fat and Michelle Yeoh being given characters with depth and watching them fill the screen with their performances. The film also benefits from great performances from Zhang Ziyi and a very under-rated Chang Chen.
Quite simply, Crouching Tiger has everything. It is beautiful, breathtaking and deeply moving. 9½ /10
I gave a wry chuckle when the opening credits pronounced Crouching Tiger, Hidden Dragon a Sony Cinema Classic in the year of its release. However, I too would not have hesitated to brand this film such. It is a cinematic masterpiece that left me in silent reverie at its conclusion.
The film's story unfolds amidst the ancient temples, bamboo forests and painted deserts of nineteenth century China: a sensual, mystical landscape that, at our first high-angle glimpse of Peking takes on a dizzying scale. This world is inhabited by the Wudan, spectral warriors from legend who effortlessly leap between rooftop and bamboo tree, a device which elevates them to a plane divorced from our parochial middle-class values without the loss of their intense humanity. Crouching Tiger, Hidden Dragon is an ode to the human spirit that transcends genre; it is at once fantasy, romance, historical epic and thriller, enriched by a subtle humour.
At the film's heart are four compelling performances. Ziyi Zhang, is enchanting as the wilful Jen Yu, daughter of a government official, who aspires to the code of the Wudan. Her destiny is entwined with those of Li Mu Bai (Chow Yun Fat) and Yu Shu Lien (Michelle Yeoh), disciples of this enigmatic clan, and of the desert bandit Lo (Chen Chang) by the theft of an arcane sword, Mu Bai's quest for revenge and the fulfilment of a powerful yet unrequited love
Chow Yun Fat possesses an hypnotic screen presence in his portrayal of this regal master, who displays an unparalleled heroism untainted by western cliché as the film travels inexorably toward his shuddering death-blow. This resonates long after the credit sequence has run and you've marvelled at how few stunt artists were engaged to actualize the film's thrillingly beautiful fight sequences. These are not the idle distractions aimed at a boyish mind we find in other martial arts films but rather a transcendent form of dance. Their exquisitely honed choreography rivals that of Graham Murphy and Twyla Tharp.
Star of these sequences is the four hundred year old Green Destiny sword that exerts a powerful metaphoric presence on the film. It is a sensuous artefact that sings when struck, punctuating Yo-Yo Ma's haunting cello solos, a feature of the immersive soundtrack.
Crouching Tiger, Hidden Dragon is a film of titanic proportions, with all the pageantry of Kundun, minus the ponderous pace, and without a trace of the cloying sentimentalism which infected Titanic's impoverished narrative. Li Mu Bai's final words are a more fervent declaration of truth than any to have graced the screen before.
After all that, I can offer no further commendation except to say that this is the latest greatest film of my now seemingly hollow existence.
The film's story unfolds amidst the ancient temples, bamboo forests and painted deserts of nineteenth century China: a sensual, mystical landscape that, at our first high-angle glimpse of Peking takes on a dizzying scale. This world is inhabited by the Wudan, spectral warriors from legend who effortlessly leap between rooftop and bamboo tree, a device which elevates them to a plane divorced from our parochial middle-class values without the loss of their intense humanity. Crouching Tiger, Hidden Dragon is an ode to the human spirit that transcends genre; it is at once fantasy, romance, historical epic and thriller, enriched by a subtle humour.
At the film's heart are four compelling performances. Ziyi Zhang, is enchanting as the wilful Jen Yu, daughter of a government official, who aspires to the code of the Wudan. Her destiny is entwined with those of Li Mu Bai (Chow Yun Fat) and Yu Shu Lien (Michelle Yeoh), disciples of this enigmatic clan, and of the desert bandit Lo (Chen Chang) by the theft of an arcane sword, Mu Bai's quest for revenge and the fulfilment of a powerful yet unrequited love
Chow Yun Fat possesses an hypnotic screen presence in his portrayal of this regal master, who displays an unparalleled heroism untainted by western cliché as the film travels inexorably toward his shuddering death-blow. This resonates long after the credit sequence has run and you've marvelled at how few stunt artists were engaged to actualize the film's thrillingly beautiful fight sequences. These are not the idle distractions aimed at a boyish mind we find in other martial arts films but rather a transcendent form of dance. Their exquisitely honed choreography rivals that of Graham Murphy and Twyla Tharp.
Star of these sequences is the four hundred year old Green Destiny sword that exerts a powerful metaphoric presence on the film. It is a sensuous artefact that sings when struck, punctuating Yo-Yo Ma's haunting cello solos, a feature of the immersive soundtrack.
Crouching Tiger, Hidden Dragon is a film of titanic proportions, with all the pageantry of Kundun, minus the ponderous pace, and without a trace of the cloying sentimentalism which infected Titanic's impoverished narrative. Li Mu Bai's final words are a more fervent declaration of truth than any to have graced the screen before.
After all that, I can offer no further commendation except to say that this is the latest greatest film of my now seemingly hollow existence.
Being that I had seen many films from Hong Kong, my basic feeling is that this movie was overrated. Yes, I expected some action with drama, which the movie did give, but the plot of the movie (spoiled rich princess wants to be #1) didn't captivate me.
First the good. Yes, the cinematography was beautiful, giving one glimpses of China never seen. Second, Michelle Yeoh and Chow Yun Fat were great. I was especially surprised to see Chow do so well for an actor known as a gun toting hero. The fight scenes were, for the most part, well choreographed, especially the scene with Michelle and Ying Zhang.
So why overrated? First of all, there were many kung-fu movies with similar or even better fight scenes. Second, I just couldn't buy the "flying leaps" seen here, especially for a film trying to be dramatic; how do they get the magic to do it? Third, the character of the princess just annoyed me. I think it would have been better to focus more on the characters of Michelle and Chow than on what seemed to be a spoiled brat. Finally, I try to get the main gist of the film, but it just doesn't come to me.
Quite frankly, if Ang Lee's name wasn't on this film, I doubt it would have gotten the recognition it got. Yes, I know that's how the world turns, but a director's name can't influence how you see a film; it should be able to stand on its own. For me, "Crouching Tiger, Hidden Dragon" is slightly above average, but not worthy of the recognition it got.
First the good. Yes, the cinematography was beautiful, giving one glimpses of China never seen. Second, Michelle Yeoh and Chow Yun Fat were great. I was especially surprised to see Chow do so well for an actor known as a gun toting hero. The fight scenes were, for the most part, well choreographed, especially the scene with Michelle and Ying Zhang.
So why overrated? First of all, there were many kung-fu movies with similar or even better fight scenes. Second, I just couldn't buy the "flying leaps" seen here, especially for a film trying to be dramatic; how do they get the magic to do it? Third, the character of the princess just annoyed me. I think it would have been better to focus more on the characters of Michelle and Chow than on what seemed to be a spoiled brat. Finally, I try to get the main gist of the film, but it just doesn't come to me.
Quite frankly, if Ang Lee's name wasn't on this film, I doubt it would have gotten the recognition it got. Yes, I know that's how the world turns, but a director's name can't influence how you see a film; it should be able to stand on its own. For me, "Crouching Tiger, Hidden Dragon" is slightly above average, but not worthy of the recognition it got.
I´ve watched this four or five times, well, I tried, because I´ve fallen asleep every single one of them, seriously. I am able to sit through movies like THE LAST EMPEROR ot THE WEEPING MEADOW and I´m kind of a stubborn film goer, usually forcing myself to endure any kind of film, no matter how long, slow or bad. Also, I liked other works by Ang Lee, specially EAT DRINK MAN WOMAN. I came to the obvious conclusion there must be something utterly boring about this film that makes me not give a rat´s ass about any character or any of their affected dialogues. I´m guessing the fighting scenes are so gorgeous and unique this film has stayed in our colective subconscious as way more than it really is.
As a film student living in Toronto, I look forward to the Toronto International Film Festival every year. Last year, the highlight of the festival for me was American Beauty. This year, it would have to be (so far) Ang Lee's "Crouching Tiger, Hidden Dragon".
Being of Asian descent, I've seen my share of wu xia genre movies to last me a life time. However, most of them are so centred on the fighting, that they forget the rest of the elements that are involed. The movie turns into one long scripted fighting scene with maybe a slight hint of story. Crouching Tiger, on the other hand realizes these issues, and builds these oh-so entertaining action sequences into an epic with typical asian themes such as true love and honour.
Being an epic, one would expect the usual long takes and establishing shots, and boy does it ever look beautiful. Traversing through a myriad of regions spanning the lengh of China (from the deserts to bamboo forests, to mountains high in the clouds), the film soley based on its asthetic properties is nothing short of stunning. The lighting of different landscapes and the exquisitly designed costumes all radiate with stunning colour. And then there's the cinemetography. Wow! The backdrops, establishing shots look absolutely marvelous. If your jaw dropped when you saw Rome and its coliseum in Gladiator, wait until you see ancient Beijing recreated on the screen!
Okay, so it's a good looking movie. What about the story? The complexity of the plot is rather sparse, probably reminiscent of epics such as Braveheart or Gladiator, which is by no means a bad thing. Although both Chow Yun Fat and Michelle Yeo did have major parts, this movie belongs mostly to Zhang Ziyi who IMHO did an amazing job playing a very complex role (one which required her to represent nobily as a princess, naivness, as well as show inner strength). Mainly concentrating on her unwillingness to give in to the ideals of an arranged marriage, the decently written script adds a story of an old warrior trying to retire and a 300+ year old sword.
All in all, this film blends story, well choreographed action, and a stylistic eye to create a mythilogical piece that not only represents the wu xia genre justly by doing it well, but also contributes to raising the quality of filmmaking usually applied in the making of a similar type of film.
Being of Asian descent, I've seen my share of wu xia genre movies to last me a life time. However, most of them are so centred on the fighting, that they forget the rest of the elements that are involed. The movie turns into one long scripted fighting scene with maybe a slight hint of story. Crouching Tiger, on the other hand realizes these issues, and builds these oh-so entertaining action sequences into an epic with typical asian themes such as true love and honour.
Being an epic, one would expect the usual long takes and establishing shots, and boy does it ever look beautiful. Traversing through a myriad of regions spanning the lengh of China (from the deserts to bamboo forests, to mountains high in the clouds), the film soley based on its asthetic properties is nothing short of stunning. The lighting of different landscapes and the exquisitly designed costumes all radiate with stunning colour. And then there's the cinemetography. Wow! The backdrops, establishing shots look absolutely marvelous. If your jaw dropped when you saw Rome and its coliseum in Gladiator, wait until you see ancient Beijing recreated on the screen!
Okay, so it's a good looking movie. What about the story? The complexity of the plot is rather sparse, probably reminiscent of epics such as Braveheart or Gladiator, which is by no means a bad thing. Although both Chow Yun Fat and Michelle Yeo did have major parts, this movie belongs mostly to Zhang Ziyi who IMHO did an amazing job playing a very complex role (one which required her to represent nobily as a princess, naivness, as well as show inner strength). Mainly concentrating on her unwillingness to give in to the ideals of an arranged marriage, the decently written script adds a story of an old warrior trying to retire and a 300+ year old sword.
All in all, this film blends story, well choreographed action, and a stylistic eye to create a mythilogical piece that not only represents the wu xia genre justly by doing it well, but also contributes to raising the quality of filmmaking usually applied in the making of a similar type of film.
Crouching Tiger, Hidden Dragon is a good and fun watch, but I can't help but feel it was missing a few elements to make it as epic as I was expecting.
It is practically faultless in terms of its beauty. From the cinematography of the Chinese landscapes, the gentle and calming score, to the flowing and rhythmic martial arts, it is a joy from that perspective.
The performances were all very good, and the characters interesting. However I felt like the plot was somewhat lacking. It didn't fully draw me in and was definitely the weakest part of the film. It ebbed and flowed in terms of its quality and perhaps lacked a bit of focus in some parts.
Despite all this, I did enjoy watching this film. It has some incredible action scenes and is full of beauty and wonder. Definitely a worthwhile watch.
It is practically faultless in terms of its beauty. From the cinematography of the Chinese landscapes, the gentle and calming score, to the flowing and rhythmic martial arts, it is a joy from that perspective.
The performances were all very good, and the characters interesting. However I felt like the plot was somewhat lacking. It didn't fully draw me in and was definitely the weakest part of the film. It ebbed and flowed in terms of its quality and perhaps lacked a bit of focus in some parts.
Despite all this, I did enjoy watching this film. It has some incredible action scenes and is full of beauty and wonder. Definitely a worthwhile watch.
- ethanbresnett
- Aug 17, 2021
- Permalink
- mattbell26
- Mar 2, 2001
- Permalink
Less than half an hour into the viewing of this masterpiece I knew this would become one of my favorite films - of all time. Only in my wildest dreams (quite literally, this movie has touched me on a personal level) have I visualized such fantastic and precise choreography, so captivating that to take your eyes away during the intense confrontations is to deny yourself the essence of what makes this film so wonderful.
With an artistic license unprecedented, the action scenes are entirely unbelievable but purely the work of a fabulous imagination. The magical settings and the colorful characters fit well into the plot but you will take away the breath-taking martial arts sequences.
With an artistic license unprecedented, the action scenes are entirely unbelievable but purely the work of a fabulous imagination. The magical settings and the colorful characters fit well into the plot but you will take away the breath-taking martial arts sequences.
- columbia2453
- Mar 20, 2001
- Permalink
Chinese martial arts films had found a market in the West during the Kung Fu boom initiated by Bruce Lee in the early 1970s
But "Crouching Tiger, Hidden Dragon" represents a new departure, an attempt to produce a sophisticated, big-budget Chinese film that would appeal both to mainstream Western audiences and to audiences in the Far East
Through their quest to find the stolen sword of Green Destiny, warriors Yu Shu Lien (Michelle Yeoh) and Li Mu Bai (Chow Yun-Fat) explore themes of love, loyalty and sacrifice
Ang Lee was an astute choice as director The location shooting was on the Chinese mainland and the actors came from Malaysia, Hong Kong and Taiwan, as well as China Instead of the Shaolin school of martial arts favored by Bruce Lee, Ang Lee opted for the more spiritual form of Wudan; brute force is replace by scenes of balletic grace as opponents climb up walls or flit through tree-tops
The widespread success of the film is a firm indication that Chinese culture is making its mark
Ang Lee was an astute choice as director The location shooting was on the Chinese mainland and the actors came from Malaysia, Hong Kong and Taiwan, as well as China Instead of the Shaolin school of martial arts favored by Bruce Lee, Ang Lee opted for the more spiritual form of Wudan; brute force is replace by scenes of balletic grace as opponents climb up walls or flit through tree-tops
The widespread success of the film is a firm indication that Chinese culture is making its mark
- Nazi_Fighter_David
- Dec 8, 2008
- Permalink
Crouching Tiger, Hidden Dragon is, quite simply, a stunning film and a real breath of fresh air in a genre that was previously somewhat stagnant. Kung-fu films were on a very steady decline, with only Jet Li making a valid effort to change things around. It comes then as a great relief that Ang Lee decided to do what he did and put an entirely new slant on the genre.
Tacky dubbed dialogue is out of the window and we're back to the films original Chinese language subtitled into English. This adds a lot more to one of the films main themes, culture. While we as the Kung-fu loving public have grown used to storylines generally involving the hero's lost mother/brother/pet goldfish, Crouching Tiger... eschews all of these stereotypes and sets about creating a really authentic atmosphere.
I won't bother rehashing the story because if you haven't seen the film yet I want you to go in with as little knowledge as possible. If you don't know what to expect, I can't recommend Crouching Tiger... more highly. Lee's directorial style is simply a joy to behold, and every minute detail is treated with a respect most directors simply don't have. Now, the part we've all been waiting for. I know what you're thinking, "It's all very well having a great story but what good is it if they're all going to mince about like fairies?"
Well, I'm pleased to tell you that these guys kick more ass than you've EVER seen before. The fight sequences are stunningly choreographed and the 'flying' looks spectacular. While a big thing has been made of Chow Yun Fat and Zhang Ziyi's treetop battle, the one for me is between Michelle Yeoh's Shu Lien and Ziyi's Jen. Both instances, both in the courtyard and the dojo are, quite frankly, the most astounding displays of martial arts I have EVER been lucky enough to witness. While Bruce Lee can certainly do the real thing, and he is without doubt the original and best, Wo Ping's sequencing of the fight scenes is truly revolutionary.
Crouching Tiger, Hidden Dragon is one of the best films I have ever seen and I would recommend anyone, whether or not they are interested in Kung-fu movies.
Tacky dubbed dialogue is out of the window and we're back to the films original Chinese language subtitled into English. This adds a lot more to one of the films main themes, culture. While we as the Kung-fu loving public have grown used to storylines generally involving the hero's lost mother/brother/pet goldfish, Crouching Tiger... eschews all of these stereotypes and sets about creating a really authentic atmosphere.
I won't bother rehashing the story because if you haven't seen the film yet I want you to go in with as little knowledge as possible. If you don't know what to expect, I can't recommend Crouching Tiger... more highly. Lee's directorial style is simply a joy to behold, and every minute detail is treated with a respect most directors simply don't have. Now, the part we've all been waiting for. I know what you're thinking, "It's all very well having a great story but what good is it if they're all going to mince about like fairies?"
Well, I'm pleased to tell you that these guys kick more ass than you've EVER seen before. The fight sequences are stunningly choreographed and the 'flying' looks spectacular. While a big thing has been made of Chow Yun Fat and Zhang Ziyi's treetop battle, the one for me is between Michelle Yeoh's Shu Lien and Ziyi's Jen. Both instances, both in the courtyard and the dojo are, quite frankly, the most astounding displays of martial arts I have EVER been lucky enough to witness. While Bruce Lee can certainly do the real thing, and he is without doubt the original and best, Wo Ping's sequencing of the fight scenes is truly revolutionary.
Crouching Tiger, Hidden Dragon is one of the best films I have ever seen and I would recommend anyone, whether or not they are interested in Kung-fu movies.
- therickster-2
- Mar 28, 2001
- Permalink
"Crouching Tiger, Hidden Dragon" is one of two Ang Lee movies I've seen. One, "The Ice Storm," takes place a couple of towns up the parkway from where I live. This one is set half a world away, yet watching it makes China feel closer than New Canaan. I have a feeling a lot of people get a similar sensation.
Master Li Mu Bai (Yun-Fat Chow) is tired of kicking butt; he only wants peace, and perhaps a new start in life with the woman he loves but keeps a wary, correct distance from, Yu Shu Lien (Michelle Yeoh). Matters are complicated with the theft of a great sword, the Green Destiny. Lien's investigation quickly centers on a bored rich girl named Jen (Zihi Zhang), who hides her skills under embroidered gowns but is ultimately as much about rebellion as Lien is about conformity. When the two women square off, sparks will fly, literally. Yet Jen has goodness in her. Can Bai and Lien save her from becoming "a poison dragon" in the service of her murderous master, the Jade Fox?
I never really got into martial-arts movies, probably because of the culture gap but also because until recently they didn't get much respect from critics, at least here in the West. That was already beginning to change by 2000, but "Crouching Tiger" was the clear tipping point, Oscar-nominated for Best Picture and praised to the skies for its beautiful cinematography and gravity-defying fight scenes.
Those fight scenes are amazing, each in a different way. One resembles a dazzling lyrical ballet on a lush bamboo forest; another is a grand goofy bar fight which is played for laughs. The best fight is between Jen and Lien, a cinematic centerpiece every bit as great as Rick and Ilsa's last scene on the tarmac in "Casablanca." No doubt it got PC points among Western critics for featuring two women in battle, it also is a nice way of bringing out the central tension in the film's deceptively simple narrative, which is that between cultural obligation as embodied by Lien, and individual happiness as sought by Jen.
Earlier in the film, Jen lays her cards out on the table for Lien, with whom she hopes to be friends: "I'm getting married, but I'm not happy about it," Jen says. Lien's wooden reply: "I've heard. Congratulations." Much later on, after Jen has run out on her wedding and stolen the Green Destiny, Bai talks about taking Jen as his student, to save her from being corrupted by evil. "What if her husband objects?" asks Lien. Bai gives her a look which says it all: What planet did you beam down from? She's Patty Hearst now, and about to become Darth Vader. Her husband's wishes are the least of our concerns.
Not to Lien. While oddly liberated by her single status (which in turn is due to her self-restrictive attitude about being in mourning for a long-dead fiancé), Lien is the cultural touchstone, or rather millstone, of this drama. She and Bai are clearly meant for each other, but she resists. Oddly, while this puts her at loggerheads with audience expectations, Lien is also the movie's most empathetic character, more so than the remote Bai or spoiled Jen. As played by Yeoh, Lien offers us a passionate center who both embodies the code she and Bai live by, and betrays that code's limitations.
Getting all that on screen is a great triumph for Yeoh, and one I needed to watch the film more than once to pick up on. She's so remarkable in her fight scenes and running up and down walls (yes, I know wires were involved, but even so the athletic skill necessary to sell such action is impossible to imagine) people miss the consummate acting of her performance, the aware inertness of her eyes, the expression of sad longing that she allows to poke through her bland facade. Chow is great, too, and Zhang beyond that in a star-making performance of beauty and rage, yet I wouldn't feel the warmth I do for this film without Yeoh inhabiting so much of it, not just body but soul.
The DVD which I found for under $10 has not only both the dubbed and subtitled versions of the films (which are radically different, and both worth viewing as they bring out different aspects of this deep film) but a funny commentary track by director Lee and co-writer James Schamus, which is remarkable in and of itself for its tone. You'd think they were Joel and Crow having at a Roger Corman flick on "Mystery Science Theater 3000" for all the potshots they take at their masterpiece. I guess you can be humble when you make a film as good as this, easily the best film of 2000 and a cinematic milestone that will inspire generations yet unborn, whatever future film technologies dish out.
Master Li Mu Bai (Yun-Fat Chow) is tired of kicking butt; he only wants peace, and perhaps a new start in life with the woman he loves but keeps a wary, correct distance from, Yu Shu Lien (Michelle Yeoh). Matters are complicated with the theft of a great sword, the Green Destiny. Lien's investigation quickly centers on a bored rich girl named Jen (Zihi Zhang), who hides her skills under embroidered gowns but is ultimately as much about rebellion as Lien is about conformity. When the two women square off, sparks will fly, literally. Yet Jen has goodness in her. Can Bai and Lien save her from becoming "a poison dragon" in the service of her murderous master, the Jade Fox?
I never really got into martial-arts movies, probably because of the culture gap but also because until recently they didn't get much respect from critics, at least here in the West. That was already beginning to change by 2000, but "Crouching Tiger" was the clear tipping point, Oscar-nominated for Best Picture and praised to the skies for its beautiful cinematography and gravity-defying fight scenes.
Those fight scenes are amazing, each in a different way. One resembles a dazzling lyrical ballet on a lush bamboo forest; another is a grand goofy bar fight which is played for laughs. The best fight is between Jen and Lien, a cinematic centerpiece every bit as great as Rick and Ilsa's last scene on the tarmac in "Casablanca." No doubt it got PC points among Western critics for featuring two women in battle, it also is a nice way of bringing out the central tension in the film's deceptively simple narrative, which is that between cultural obligation as embodied by Lien, and individual happiness as sought by Jen.
Earlier in the film, Jen lays her cards out on the table for Lien, with whom she hopes to be friends: "I'm getting married, but I'm not happy about it," Jen says. Lien's wooden reply: "I've heard. Congratulations." Much later on, after Jen has run out on her wedding and stolen the Green Destiny, Bai talks about taking Jen as his student, to save her from being corrupted by evil. "What if her husband objects?" asks Lien. Bai gives her a look which says it all: What planet did you beam down from? She's Patty Hearst now, and about to become Darth Vader. Her husband's wishes are the least of our concerns.
Not to Lien. While oddly liberated by her single status (which in turn is due to her self-restrictive attitude about being in mourning for a long-dead fiancé), Lien is the cultural touchstone, or rather millstone, of this drama. She and Bai are clearly meant for each other, but she resists. Oddly, while this puts her at loggerheads with audience expectations, Lien is also the movie's most empathetic character, more so than the remote Bai or spoiled Jen. As played by Yeoh, Lien offers us a passionate center who both embodies the code she and Bai live by, and betrays that code's limitations.
Getting all that on screen is a great triumph for Yeoh, and one I needed to watch the film more than once to pick up on. She's so remarkable in her fight scenes and running up and down walls (yes, I know wires were involved, but even so the athletic skill necessary to sell such action is impossible to imagine) people miss the consummate acting of her performance, the aware inertness of her eyes, the expression of sad longing that she allows to poke through her bland facade. Chow is great, too, and Zhang beyond that in a star-making performance of beauty and rage, yet I wouldn't feel the warmth I do for this film without Yeoh inhabiting so much of it, not just body but soul.
The DVD which I found for under $10 has not only both the dubbed and subtitled versions of the films (which are radically different, and both worth viewing as they bring out different aspects of this deep film) but a funny commentary track by director Lee and co-writer James Schamus, which is remarkable in and of itself for its tone. You'd think they were Joel and Crow having at a Roger Corman flick on "Mystery Science Theater 3000" for all the potshots they take at their masterpiece. I guess you can be humble when you make a film as good as this, easily the best film of 2000 and a cinematic milestone that will inspire generations yet unborn, whatever future film technologies dish out.
The show was fantastic. It is one of the best, if not the best Chinese swashbuckling show. With that simple and to the point assertion let me continue with my review.
The kungfu choreography was marvelous and beautiful. With Yuen Wo Ping as the martial arts director, things can hardly get better. I dare say that the kungfu movement in this show was definitely more varied and graceful than his other works, for example, the Matrix which obtained such raving reviews. Even when compared to his other Mandarin titles, like Last Hero in China, this show stands out. In other movies, you get the feeling they're merely fighting it out, but for this one, there is a genuine fluidity. The aesthetic and artistic direction is definitely top-notch. Although there were times things were a little overdone, that will not compromise the overall quality of the show.
The acting was excellent as well. Chow Yun Fatt and Michelle Yeoh were fine as the constipated middle-aged `we're a little old but we still love each other' couple. The scene at the end was absolutely heart breaking; so subtle and yet absolute racking. As for Zhang Ziyi, she was perfect as the slightly brat-ish aristocratic daughter of a governor, who's yet to find what she really wants in life. From blithe to confusion to angst to despondence and then despair, there is a character journey which she succeeds in portraying. And all this while, yes, she somehow manages to stay likeable. Its pretty amazing if you consider she's still in acting school.
This must be one of the better adaptation of Chinese `Giang Hu' Novels. Usually, they're so badly adapted they result in one hodgepodge mess of a conglomerated movie. This one has an exceptional script which is easy to follow and not merely as inane as having only good versus evil. Here, our protagonists have their own personal battles to overcome and their own personal devils to defeat. And if any of these sound boring, it isn't! It's one of the fastest 2.5 hr movie I've watched. The ending is also one of the classiest and most beautiful I've seen.
This show is cinematic poetry. The music score compliments the Kungfu sequences well; the lyrical dialogues emerge charmingly. Everything fits in so darn perfectly. You have to concede to the fact that Ang Lee is undoubtedly a visionary and amazing director.
Even if you don't give a damn about any of the above, this show is a visual treat. Go watch the show for the scenery, the martial arts, the actors. The bottom line is to go and watch it because you will rarely find a better one. 9/10.
Yes yes, i'm a groupie and if u watch it, i think u'll become one. :DD
The kungfu choreography was marvelous and beautiful. With Yuen Wo Ping as the martial arts director, things can hardly get better. I dare say that the kungfu movement in this show was definitely more varied and graceful than his other works, for example, the Matrix which obtained such raving reviews. Even when compared to his other Mandarin titles, like Last Hero in China, this show stands out. In other movies, you get the feeling they're merely fighting it out, but for this one, there is a genuine fluidity. The aesthetic and artistic direction is definitely top-notch. Although there were times things were a little overdone, that will not compromise the overall quality of the show.
The acting was excellent as well. Chow Yun Fatt and Michelle Yeoh were fine as the constipated middle-aged `we're a little old but we still love each other' couple. The scene at the end was absolutely heart breaking; so subtle and yet absolute racking. As for Zhang Ziyi, she was perfect as the slightly brat-ish aristocratic daughter of a governor, who's yet to find what she really wants in life. From blithe to confusion to angst to despondence and then despair, there is a character journey which she succeeds in portraying. And all this while, yes, she somehow manages to stay likeable. Its pretty amazing if you consider she's still in acting school.
This must be one of the better adaptation of Chinese `Giang Hu' Novels. Usually, they're so badly adapted they result in one hodgepodge mess of a conglomerated movie. This one has an exceptional script which is easy to follow and not merely as inane as having only good versus evil. Here, our protagonists have their own personal battles to overcome and their own personal devils to defeat. And if any of these sound boring, it isn't! It's one of the fastest 2.5 hr movie I've watched. The ending is also one of the classiest and most beautiful I've seen.
This show is cinematic poetry. The music score compliments the Kungfu sequences well; the lyrical dialogues emerge charmingly. Everything fits in so darn perfectly. You have to concede to the fact that Ang Lee is undoubtedly a visionary and amazing director.
Even if you don't give a damn about any of the above, this show is a visual treat. Go watch the show for the scenery, the martial arts, the actors. The bottom line is to go and watch it because you will rarely find a better one. 9/10.
Yes yes, i'm a groupie and if u watch it, i think u'll become one. :DD
- kirsten tan
- Jul 8, 2000
- Permalink
I always have time for films that dare to be different and that faith was stretched to the limits with CTHD. The story is set in feudal China and centres around an ancient (even then!) sword that is stolen by person(s) unknown.
Real star of the show is Ziyi Zhang who comes across as a kind of young female Bruce Lee, although somewhat aided by the ability to defy gravity - director Ang's claims that she could not fly, but perform great leaps and falls!
(Sorry Lee - I know flying when I see it!)
The film starts with a murky and talky set-up that introduce us to the three principle characters played by Chow Yun Fat, Ziyi Zhang and Michelle Yeoh. From their talk-talk it seems they have all acquired mystical living and fighting skills although I would not be like to explain the full in-and-outs of it!
Thankfully the silly talking stops and movie starts to kick-off in earnest when Zhang is kidnapped on the way to her marriage of convenience. This is where the film really works (as an action movie) and indeed some of the set pieces are classics, although aided and abetted by skilful fly-by-wire work.
I don't understand is why the script wasn't re-written to make the characters background clearer, their skills highlighted (is Zhang hitting with normal powers for someone of her height/weight or superhuman powers?) and then get the whole show on the road earlier. Maybe I missed a few things while dozing through the slow opening, but I could have done with a bit more help with what follows.
The actors all put in solid performances, although only the doll-faced Zhang climbs above the script. Fat seems to be billed as star of the show - perhaps because he is the only recognised actor - but he features only in passing. Equally curious is that his love for stunt-happy Yeoh seems understated, but perhaps that is the Oriental way?
Plenty of plus points for having strong females characters that hold their own in all aspects of life, but the mystical soup doesn't deliver anything like the classic some people think they are seeing. The real battle in this movie fights isn't between good and evil, it is between sense and silliness. Sense wins wins in the end, but it is a close call...
Real star of the show is Ziyi Zhang who comes across as a kind of young female Bruce Lee, although somewhat aided by the ability to defy gravity - director Ang's claims that she could not fly, but perform great leaps and falls!
(Sorry Lee - I know flying when I see it!)
The film starts with a murky and talky set-up that introduce us to the three principle characters played by Chow Yun Fat, Ziyi Zhang and Michelle Yeoh. From their talk-talk it seems they have all acquired mystical living and fighting skills although I would not be like to explain the full in-and-outs of it!
Thankfully the silly talking stops and movie starts to kick-off in earnest when Zhang is kidnapped on the way to her marriage of convenience. This is where the film really works (as an action movie) and indeed some of the set pieces are classics, although aided and abetted by skilful fly-by-wire work.
I don't understand is why the script wasn't re-written to make the characters background clearer, their skills highlighted (is Zhang hitting with normal powers for someone of her height/weight or superhuman powers?) and then get the whole show on the road earlier. Maybe I missed a few things while dozing through the slow opening, but I could have done with a bit more help with what follows.
The actors all put in solid performances, although only the doll-faced Zhang climbs above the script. Fat seems to be billed as star of the show - perhaps because he is the only recognised actor - but he features only in passing. Equally curious is that his love for stunt-happy Yeoh seems understated, but perhaps that is the Oriental way?
Plenty of plus points for having strong females characters that hold their own in all aspects of life, but the mystical soup doesn't deliver anything like the classic some people think they are seeing. The real battle in this movie fights isn't between good and evil, it is between sense and silliness. Sense wins wins in the end, but it is a close call...
on how I view other movies. This movie was so fresh and exciting that it made me look at the Asian cinema scene a little closer. The story alone is great. It is simple and very different from what I am used to here in the States. Visually it was one of the best movies I have ever scene. From the effects matching the tone of the movie, to the locations and the colors used in those locales. The fight scenes were very cool. I love good fight scenes and I love swords. This movie pulls off both very nicely. Since I have watched this movie, I have watched many other Asian films and I find them refreshing. The movies are more story driven with a heavy emphasis on tones. I might watch this movie this weekend now that I am thinking of it. Really cool movie especially on a rainy night.
- brandonennals
- Dec 16, 2004
- Permalink
I finally got around to seeing CROUCHING TIGER , HIDDEN DRAGON at the weekend . It`s a movie of almost legendary status but I was slightly disappointed with it for one reason that I`ll come to shortly . First of all may I just point out that there`s a lot of acclaim that is justified , it`s a beautifully made film down to its technical areas like the cinematography ( Check out the final stunning scene ) the editing , the soundtrack and the choregraphy . It also has a sense of humour best summed up in the scene at the tea house but this scene - Indeed the whole movie - is let down by something and that something is this : It`s obvious the fleet footed characters are being pulled up and down on a harness . No matter how much the production team try to disguise it it`s obvious this is how the technique is achieved and spoiled the film for me greatly
Am I cruel cynic ? Well maybe but think about this : Would LORD OF THE RINGS have been such a sucess if it was painfully obvious that Gollum was a CGI character ? Never once did I believe Gollum was anything less than a real character . Even to this day I have visions that Gollum now sits at home anxiously waiting for Peter Jackson to ring him to tell him he`s starring in THE HOBBIT , that`s how convincing he was to me , but CROUCHING TIGER , HIDDEN DRAGON fails because as soon as I saw characters running over roof tops and along tree branches I realised I was watching people on wires . A great pity because there is so much to admire in this film
Am I cruel cynic ? Well maybe but think about this : Would LORD OF THE RINGS have been such a sucess if it was painfully obvious that Gollum was a CGI character ? Never once did I believe Gollum was anything less than a real character . Even to this day I have visions that Gollum now sits at home anxiously waiting for Peter Jackson to ring him to tell him he`s starring in THE HOBBIT , that`s how convincing he was to me , but CROUCHING TIGER , HIDDEN DRAGON fails because as soon as I saw characters running over roof tops and along tree branches I realised I was watching people on wires . A great pity because there is so much to admire in this film
- Theo Robertson
- Apr 4, 2004
- Permalink
When one thinks of wuxia films, usually the first thing that comes to mind are the fantastic fight scenes. Crouching Tiger is no exception, featuring top notch fight choreography. What really stands out is the variety offered, from a heart pumping night chase flying across rooftops, to a quiet, mesmerizing duel of wills atop the bamboo forest.
The soundtrack is one of the best that I've ever heard. Whether it's traditional drum beats that amplify each punch and kick, or the sweeping, melancholic beauty of Yo-Yo Ma's cello, all of the music composed by Tan Dun fits each scene perfectly. There are some pieces that still bring a tear to my eye when I hear it.
But what really sets this film apart, is having Ang Lee, one of the best character directors of our time, inject his brand of sensitivity and romance into the wuxia genre. This is a tale of two love stories, of people caught between tradition and freedom, as well as the struggle between enlightenment and holding onto one's earthly connections. I love that there are so many strong wuxia heroines in this film, and there's a specific scene involving a teacup that was just masterful in showing their battle of wits and skill.
This movie really feels like a blend of East and West in terms of content, sentiment, and filming technique. If you are new to the genre, I highly recommend this one as your starting point. Since Ang Lee is a Taiwanese director, there are also no Chinese censorship or weird political talking points, and I was absorbed in the story from beginning to end.
Really can't say enough to praise this film. The actors are wonderful, the music is excellent, the plot is engaging, the cinematography is beautiful, the fight scenes are exhilarating, and the ending of both love stories moved me deeply. If you haven't seen Ang Lee's masterpiece of a wuxia film yet, I highly recommend it!
The soundtrack is one of the best that I've ever heard. Whether it's traditional drum beats that amplify each punch and kick, or the sweeping, melancholic beauty of Yo-Yo Ma's cello, all of the music composed by Tan Dun fits each scene perfectly. There are some pieces that still bring a tear to my eye when I hear it.
But what really sets this film apart, is having Ang Lee, one of the best character directors of our time, inject his brand of sensitivity and romance into the wuxia genre. This is a tale of two love stories, of people caught between tradition and freedom, as well as the struggle between enlightenment and holding onto one's earthly connections. I love that there are so many strong wuxia heroines in this film, and there's a specific scene involving a teacup that was just masterful in showing their battle of wits and skill.
This movie really feels like a blend of East and West in terms of content, sentiment, and filming technique. If you are new to the genre, I highly recommend this one as your starting point. Since Ang Lee is a Taiwanese director, there are also no Chinese censorship or weird political talking points, and I was absorbed in the story from beginning to end.
Really can't say enough to praise this film. The actors are wonderful, the music is excellent, the plot is engaging, the cinematography is beautiful, the fight scenes are exhilarating, and the ending of both love stories moved me deeply. If you haven't seen Ang Lee's masterpiece of a wuxia film yet, I highly recommend it!
- velvet-nightmares
- Feb 3, 2023
- Permalink
What's all the fuss about? This movie is a Japanese romantic drama about male and female roles and a special sword and tons of other stuff. The story is so convoluted, I can't really recount it all. Basically, the film has, as I said, incredible fight scenes and beautiful wide-screen cinematography, but little else. The story is confusing and boring and, with the sole exception of Michelle Yeoh, badly acted (even Chow Yun-Fat!). I gave up on the film about halfway through when they threw in a needlessly long flashback that's a Western!!!! It adds very little to the story. It seems to be there just to up the romance in the movie. Also with such bad acting, you could care less about the characters. Also, the fight scenes aren't that original...Jackie Chan has been doing them in his movies since the 1970s. Also, the film is subtitled...it doesn't bother me but other viewers might not like it. So an overpraised Japanese film. In a few years, nobody will remember this.
With the amount over-zealous hype surrounding this film, one would expect something of grand design. Sadly, that's all it is, over-zealous hype. Possibly the most over-hyped film since Star Wars: Phantom Menace. As I sat in the theatre watching this I couldn't help but laugh heartily at the defying gravity antics that only made me want to start singing, "Spiderman, Spiderman, does whatever a spider can." Yes, it is that bad. Two women sitting in front of me kept shooting dirty looks my way, but really how could anyone take this absurd movie seriously? In fact, Jade Fox (the film's remorseless "bad guy")merely alters the hairdo and for some strange reason no one recognizes him. I suppose everyone is blind, and dumb. And that's what this movie is, dumb.
First, the acting is on par with every other absurd "action," gravity defying kung-fu film. Nothing special, period. The script is littered with the most inane dialogue, again like most films of this type. Really, had it been dubbed the pathetic reality of that would be more noticed. The story is, again, on par with every other film in this genre... tinged with a little spaghetti western thrown in for good measure. So, in reality there is nothing special about this film. Nothing!
Ok, so perhaps some people will find the gravity-defying antics some sort of brainless entertainment for two hours. I didn't. The action scenes are well choreographed, but when they begin to toss their hands in the air and take off like Superman, crawl around on bamboo tree tops like somekind of monkey, crawl up walls and skip across roofs you just can NOT take it seriously. It's just comical to the extreme. And really, it is so very obvious that these people are on wires, you can practically see them (and in a few scenes, if you pay close attention, you can).
This film is too absurd to be any good, too serious to be campy or fun and just doesn't work at all. With the boxoffice booming on this, I can only imagine a select few people are seeing it over and over and over, and in the process tricking their friends into seeing it too. I rarely feel as though I wasted my money when I go see a film, but I DID in fact waste my money when I saw this turkey.
First, the acting is on par with every other absurd "action," gravity defying kung-fu film. Nothing special, period. The script is littered with the most inane dialogue, again like most films of this type. Really, had it been dubbed the pathetic reality of that would be more noticed. The story is, again, on par with every other film in this genre... tinged with a little spaghetti western thrown in for good measure. So, in reality there is nothing special about this film. Nothing!
Ok, so perhaps some people will find the gravity-defying antics some sort of brainless entertainment for two hours. I didn't. The action scenes are well choreographed, but when they begin to toss their hands in the air and take off like Superman, crawl around on bamboo tree tops like somekind of monkey, crawl up walls and skip across roofs you just can NOT take it seriously. It's just comical to the extreme. And really, it is so very obvious that these people are on wires, you can practically see them (and in a few scenes, if you pay close attention, you can).
This film is too absurd to be any good, too serious to be campy or fun and just doesn't work at all. With the boxoffice booming on this, I can only imagine a select few people are seeing it over and over and over, and in the process tricking their friends into seeing it too. I rarely feel as though I wasted my money when I go see a film, but I DID in fact waste my money when I saw this turkey.
- daveyboy-7
- Mar 10, 2001
- Permalink