In this podcast we discuss the recent MUBI showings of King Hu’s Dragon Inn (967) and A Touch of Zen (1971), its relationship to the Wuxia genre and its influence on films such Crouching Tiger/ Hidden Dragon (Ang Lee, 2000), Hero (Zhang Yimou, 2002) and House of Flying Daggers (Zhang Yimou, 2004,) its later influence on more recent Taiwanese cinema, so obvious in Tsai Ming Liang’s Goodbye, Dragon Inn (2003) and Hou’s own The Assassin (2015). We discuss the beauty of its widescreen images, try to relate it to the work of Sergio Leone in relation to its use of landscape, and ruminate on the filming of action as ‘pure cinema’. We also discuss the distinctiveness of its use of female action heroines, particularly in relation to Western Cinema.
The podcast can also be listened to on Spotify here: https://open.spotify.com/show/2zWZ7Egdy6xPCwHPHlOOaT
and on itunes here: https://podcasts.apple.com/gb/podcast/first-impressions-thinking-aloud-about-film/id1548559546
Listeners might be interested in the following reviews:
A Touch of Zen
A note on the much maligned The Great Wall, which I saw on the weekend: there is no characterisation to speak of, the plot is merely a serviceable monster story, and the theme would please China’s governing central committee. But…It is from the director of Ju Dou, (1990) and Hero (2002) and The House of Flying Daggers (2004), and Curse of the Golden Flower (2006). It has the most astonishingly beautiful use of colour I’ve seen in recent cinema. Yang and cinematographers Stuart Dreyburgh and Xiaoding Zhao, plus the set and design people, have created colours so beautiful and so rarely seen in cinema, and then the way they put those colours together in a frame, make them work alongside each other not only to keep the eye on the action but also to please it, is quite exceptional. There’s a scene in a tower in the last great set-piece where the imperial palace is over-run by monsters, the tower is slowly falling apart, and every colour if the rainbow seems to break through — orchestrated and choreographed — in an extraordinary cacophony of colour that is just breathtakingly beautiful: how could so much be arranged to rest so easy and simply on the eye? This use of colour is conveyed in gorgeous compositions and truly inventive use of camera. Visually, the film is like a Renaissance Masterpiece. As usual with Zhang, the acrobatics are wonderful to watch and there are scenes with women warriors diving into a sea of monsters with spears that is just dazzling to see. And though the characters are archetypes and not fully fleshed out, Andy Lau and Willelm Dafoe and Tian Jing are still worth looking at — if for different reasons — and Matt Damon and Pedro Pascal have great chemistry. It’s out now and if cinephiles aren’t bothered to see it on a big screen they’re not worthy of the name.