With this year’s Hero and House of Flying
Daggers, Chinese director Zhang Yimou has proven
himself to be one of the great working action directors.
Filling his frames with aesthetically beautiful
landscapes and positioning perfectly choreographed
fights in their foregrounds, Zhang’s passion for imagery
is obvious. The awe-striking visuals in his
films—particularly those in House of Flying Daggers—instantly
immerse the viewer and enhance their senses. If the
scene takes place in a sprawling field on a beautiful
day, the luminescence of the sun seeps out of the screen
and the sweet fragrance of the surrounding flowers
penetrates the noses of audience members. If, instead,
the characters are occupying a snowy locale in a time of
desperation, the bleakness of the moment is
psychologically daunting and the atmosphere of the
theatre transforms from butter-flavored air-conditioning
to a crisp and biting wind.
Even without a character saying a word or the musical
score of the film sounding, Zhang is able to capture the
viewer and transfix them with his enlightening vision.
House of Flying Daggers opens in Han-ruled China
in 859 A.D., in the Peony Pavilion, a brothel, where the
supposed blind daughter of the assassinated leader of a
rebel group, which the film was named after, works. Her
name is Mei and she is played by the wonderful Zhang
Ziyi. She dances for officer named Jin (Takeshi
Kaneshiro) and his co-worker, Leo (Andy Lau). Both of
these sequences are downright beautiful, especially the
latter, in which she performs the marvelous Echo Dance.
The officers are at the Peony Pavilion to capture her,
as the members of The House of Flying Daggers are wanted
by the Chinese government. However, after she is taken
prisoner and threatened with torture, Jin decides to
help her escape, and forms a partnership with her. They
head for refuge with The House of Flying Daggers.
However, what Mei does not know is that Jin is still
working as an officer, and their escape is all part of
an elaborate plan to crack down on her and her father’s
former group.
The plot description that I have just provided actually
turns out to be entirely untrue, by the end of the film.
There are many plot-twists in House of Flying Daggers,
each one more shocking than the next. However, these are
not revealed in a way that is reflective of cheap
thrills, but, rather, in one that builds a strong
emotional resonance. As the plot progresses, Mei and Jin
develop a love that each questions, but never breaks.
With every twist, the audience is forced to think of
their relationship in a new light, as the real situation
of the plot changes, to an extremity. For these twists
to function effectively, their being surprises is
crucial. To prevent viewers from predicting the outcomes
of the plans of both the Chinese empire and The House of
Flying Daggers, Zhang simply enraptures them action
sequences that are both thought-provoking and
mystifying. In these, deep symbolism and, of course,
scrumptious eye-candy are discovered. Not one sane
viewer will be concentrating on the film’s broad
plotline when watching them; they will be far too
involved in the material of the moment to do so.
House of Flying Daggers is melodramatic, but not
in a bad way. When moviegoers discuss American cinema,
this trait usually has a negative connotation, but only
because of flawed technique. In exaggerating many
situations, the material of this film becomes much more
triumphant than it would’ve been, had Zhang taken a more
realistic approach in its execution. If viewed out of
context, the final fight in the film, which takes place
during a freezing, redeeming, seasonal snow, could seem
silly and clichéd. However, as a conclusion to House
of Flying Daggers, succeeding the rest of the scenes
film, it serves as a heartbreaking finish, where much is
learned about the three central characters. Even with an
abundance of action, this picture’s human side is its
most prominent. As daggers fly, swords bend, and fists
clench, poignancy is still omnipresent in its content.
How often does a film of such nature come along? Maybe
it’s not a coincidence that the moon has looked a little
bluish lately.
I could talk about the metaphors in the film which
commentate on relationships, government, and warfare,
but I think it would be a pointless endeavor. The point
of House of Flying Daggers is not to dissect it,
but to be affected by it. Outside of action, Zhang is a
minimalist. He uses simple lines of dialogue which
provoke an abundance of thought, as well as many quick
plot-twists which change the story in colossal ways.
When combined and merged with the gorgeous sites
captured by his camera, these elements fuse and ignite
in a profound reaction. With House of Flying Daggers,
Zhang has birthed a classic film for the ages and
certainly one of the best movies of the year. For a
director that virtually no American moviegoer had heard
of until earlier this year, he sure is quite the master
worker.
-Danny, Bucket Reviews (12.24.2004)