Opinion: Style makes visual treat of 'Flying Daggers'

Like the work of Bernardo Bertolucci and Federico Fellini, Zhang’s movies are always, at the very least, visually stunning experiences.

While I don’t profess to be well-versed in the genre of martial arts film, I know it has recently experienced a paradigm shift.

Ang Lee’s masterpiece “Crouching Tiger, Hidden Dragon” ushered in the new era in 2000. Quentin Tarantino – a student of the style – has explored it with his “Kill Bill” movies. And recently Zhang Yimou has turned his attention there as well.

Zhang’s previous movies were rich, dramatic character studies, but his last two outings, “Hero” in 2003 and now “House of Flying Daggers,” are artfully directed “fight” films that are heavy on action and somewhat restrained on plot, dialogue and character development.

While I prefer his previous style, I must admit Zhang still manages to capture some of the most beautiful images ever committed to film. Like Fellini’s “Nights of Cabiria,” any given frame of “House of Flying Daggers” could be blown up into a gorgeous photograph.

Zhang Ziyi (the latest in the line of Zhang’s beautiful leading ladies) plays Mei, a blind woman who is renowned for her dancing at a well-known house of ill repute.

It’s ninth-century China and there are many feuds between the disparate clans.

The story concerns itself with a covert rebel contingent known as House of Flying Daggers that is trying to overthrow the ruling Tang Dynasty. The Daggers are a secretive lot, and the dynasty is trying its best to infiltrate their ranks.

Mei, who is suspected of being involved with House of Flying Daggers, is arrested and about to meet her fate. She’s rescued by Jin (Takeshi Kaneshiro) and the pair takes off. Jin may or may not be what he seems but he is certainly smitten by Mei’s charms. Mei, as well, may or may not be what she seems.

Also in the mix is Leo (Andy Lau) a soldier in the employ of the Tangs. While his mission is to get the truth out of Mei and gain information about House of Flying Daggers, he, too, falls under her spell.

That’s the plot, but the real beauty of this film is not in its story. Many students of film will go to great lengths to explain that substance matters more than style, but films like “House of Flying Daggers” are the glaring exception to that rule. In essence, its style is what ultimately gives the film its substance. It’s just too beautiful to ignore.

There are half a dozen major battle scenes, each one more amazing than the last. Zhang uses some very apparent digital effects, and while those sort of gimmicks can be distracting at times, here they simply add to the magic. The camera follows swords, knives, wooden spears and arrows with precision.

Aside from the battles, the film also offers a sensual pallet of set decoration and design. The “echo game” after the first fight scene is one of the most stunning sequences ever put on film. Cinematographer Zhao Xiaoding – working for the first time with Zhang – manages to capture the colors and atmospheres of the intricately fashioned sets.

Every detail is well attended to and made the most of in “House of Flying Daggers.” The rich colors and interweaving artwork of Chinese design have never been shown in a more favorable light. It really is a breathtaking film, even if its plot is somewhat of a throwaway.

The literal translation of the film’s Chinese title, “Shi Mian Mai Fu,” is “Ambush From Ten Sides,” which is more befitting. Whatever they call it, though, “House of Flying Daggers” is a visual treat beyond compare.

Zhang’s other film in this vein, “Hero,” has recently been released on DVD and is a great companion piece. His earlier films are somewhat hard to find but are all well worth seeking out. He’s one of the finest and most focused directors working today.

Jim Wunderle owns Wunderle Sound Services and is a Springfield freelance writer and musician.