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Rating:  -
I don't remember much but I remember thanking the person who recommended that I see this film and I loved the scene with the woman jumping from house to house. It was awesome.
Rating: -
Everything has already been said about this film, so I'll put only a short review here.
Why did I use the superlative in the title? Because it seems to be true for me. (The second place belongs to House of Flying Daggers [Region 99].) The story line is not very strong, but much better than you can often see in this genre. The romantic threads do not make it too schmaltzy, and the visual design is simply magnificent, which is also true for the film mentioned above. If you are a visual type of person, do not miss this movie.
Rating:  -
Although I enjoyed Michelle Yeoh and Zhang Ziyi (as always), I didn't enjoy this movie hardly at all. I couldn't believe this was the movie that got such rave reviews and was Oscar nominated etc. I don't say that foolishly, stating that I dislike the movie when really I dislike the genre. That's not it. I just much prefer films like "House of the Flying Daggers" and "Hero" to this one.
Rating:  -
the cinemotography is pretty good i this movie, but the plot was raw. This movie was okay.
Rating:  -
The martial arts film traditionally has attained its own unique niche in the domain of film. Crouching Tiger, Hidden Dragon is a Chinese-language film that works within the parameters of the old cliches of this niche, but changes just enough to make it stand out and create an appeal that reaches far beyond the limited circle of the average martial art film enthusiast. It doesn't lack the action that one might expect from the typical film in this genre, but it adds something new: the soul of tragedy and romance.
An adaption of a Chinese pulp-fiction novel, the story concerns two secret lovers (the male Li Mu Bai and female Yu Shu Lien) who are warriors on a quest to recapture a legendary sword, the Green Destiny, which has been stolen by a masked bandit. The thief turns out to be the beautiful princess Jen Yu, who is in the middle of trying to avoid an arranged marriage, because she is secretly in love with the desert bandit Lo, whom she grew to love after being abducted in the wilderness. Behind the intrigue and romance of these two forbidden loves, lies the dark cloud of mastermind Jade Fox, the evil woman responsible for the deaths of Mu Bai's former master and of Shu Lien's fiance. This sets the stage for a poignant drama, warm romance, and breath-taking action.
Despite being a martial arts film, the movie breaks the traditional Eastern mould by incorporating romantic elements one would expect from Hollywood. It has well been said that stylistically, it is "a blend of Eastern action and Western psychological drama." I think this assessment is correct, that while on the one hand the film is clearly inspired by martial-arts mysticism and action of the East, underneath the window dressing of the foreign aspects of the film lies the romanticism and drama that one is accustomed to from the West. By catering to what appeals to the modern Western mindset and incorporating subtle criticisms of traditional Chinese culture, it's not surprising that the film was somewhat of a flop in Asia, and that its concessions to contemporary themes of love and feelings made it a breakthrough success in the West. Stephen Greydanus puts it well by remarking: "Ang Lee has here crafted a masterful synthesis of various forms of Chinese mythology and Taoist philosophy that brings a broader perspective to its subject matter than many Asian films including some aspects of more typically Western sensibilities and ideals and, in the end, embraces a gently romantic humanism that is more life-affirming than the esoteric way of detachment and denial characteristic of Eastern thought." Certainly there are allusions to Taoistic mysticism, but the Taoism is in the end rejected in favor of realism and romanticism - which perhaps explains why the movie worked for Western viewers and not for Eastern ones.
The movie has also been the subject of scathing criticism for other reasons, not least from conservative Christian quarters, where offense was taken primarily to the implicit endorsement of extra-marital sexual relations, and the rebellious attitude of Jen toward her parents and her arranged marriage. For the most part, I share this concern, and it's good to be reminded of it. Watching too many movies which advocate the moral laxity of modern culture can dull sensitivity on this point, and unfortunately there aren't enough films on the other extreme to act as correctives.
But perhaps most discussion has been about the ambiguous conclusion (*spoiler warning*), where Jen leaps into the unknown. Lo has just expressed the wish is "to be in the desert, together [with you] again" and then Jen jumps off the cliff into the mist of uncertainty. If it's not suicide, what is it? And what happens next? We don't know. Some have optimistically seen this as a Christological leap of faith and sacrifice with the hope of resurrection, but it seems to me that interpreting this as a message of atonement and resurrection is being too generous and overly charitable. Perhaps the point is that we don't know the ending, and that the movie can only leave it up to us to decide for ourselves. And isn't this typical for a Western culture without absolutes? Maybe this is a reflection of our post-modern culture more than anything. Not only does contemporary culture delight in being morally ambiguous, but as a result it also has an ambiguous eschatology. The best that modern Western film can offer is a nebulous promise of a hope for the future. In other words, our world today doesn't really know much about the afterlife, so it can't really tell us much about it, except offer paradoxes and try to make us come up with our own happy endings. The best promise it can give is a blend of hopeless romanticism and eastern mysticism, where suicide is romanticized as an genuine escape and a leap into another world where perhaps dreams might just come true.
Despite being critical of some of these underlying themes and moral ambiguity, I have to admit that Crouching Tiger Hidden Dragon is stimulating in raising these questions, in a way that few popular films today do. It remains a fascinating film in what it says about a clash of cultures, and in what it says about our time. The discerning viewer is sure to find some measure of profit and entertainment from this highly regarded and award-winning film. - GODLY GADFLY
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