7cb1d79195 In 19th century Qing Dynasty China, a warrior gives his sword, Green Destiny, to his lover to deliver to safe keeping, but it is stolen, and the chase is on to find it. The search leads to the House of Yu where the story takes on a whole different level.
A young Chinese warrior steals a sword from a famed swordsman and then escapes into a world of romantic adventure with a mysterious man in the frontier of the nation.
Crouching Tiger, Hidden Dragon has interestingly received far more attention, especially critical attention, in the US than it has in China! I teach in a senior high school in Ningbo and of the high number of students who have seen the film only a handful professed anything other than disdain for it. The main comment has been that they have seen many films like it but that they were better!<br/><br/>I don't know if this is true but it raises interesting questions about the reception of the film and how it has been perceived. Although it was directed by Ang Lee, a Taiwanese native and has been claimeda Chinese film very vociferously by the Chinese media, there is a strong element of the film that is undeniably slanted toward a Western, and therefore in filmic terms by definition a Hollywood, sensibility.<br/><br/>This mystification of Chinese spirituality and history gives it an added pull at the American box-office where it's $100m + haul makes it a commercial success but this has failed to appeal to the Chinese mass market in quite the same way! In many ways, Crouching is symptomatic of the effect of globalisation, but a globalisation where America is the senior partner! Part of the success of the film lies in its marketing strategy which has followed Hollywood custom & practice in having a large percentage of the final budget allocated to publicity and presentation. This has not been seen in China before and coupled with the fact that the last films of Wong Kar-wai & Zhang Yimou were co-financedm by American money illustrates that America is more than keen,ever, to try to seize a foothold in foreign markets no matter what!<br/><br/>But getting back to Crouching, the much lauded film music, featuring the cello playing of Ma Yo-yo sounds authentically Chinese in a romantic-tourist idea of what Chinese is and yet the soundtrack features a song sung in English that is effectively an action replay of Celine Dion's My Heart Will Go On from Titanic.The fact that it is sung by Coco Lee, Chinese born/American raised, illustrates this duopoly that the film encompasses of trying to combine two widely disparate elements that have seldom been successfully married before. Thus, for American audiences, the mix of Hong Kong film style martial arts with Titanic-esque romance, with a hint of the spices of the East, makes for a tantalising dish.<br/><br/>Nevertheless, it is an excellent film. The action sequences may drag a tad but the adult romance stories, and especially that of the requited, non-sexual and respectful love of the Chow Yun Fat & Michelle yeoh characters place the film in another league to the often wafer thin love stories found in the average Hollywood blockbuster. It is undeniably epic in scope, rich in the texture of its images and appealing in its simple good versus evil conflict. Thus, it can appeal on different levels and rewards repeated viewings in a way that the other contenders for Best Film at this years Oscars do not. Zhang Ziyi could well be the next big foreign star in Hollywood and could be the major female success there that was once predicted of Gong Li.Her performance in Zhang Yimou's The Road Home promised much and Crouching has helped place her in a similar position to that Gong Li was in after Raise the Red Lantern. Now however, Zhang Ziyi is in a much better position to exploit her potential than Gong Li was because of China's developing positionthe soon-to-be biggest economy in the world.<br/><br/>Crouching will be re-assessed in a few years time & I predict it will then be seenan important event in the changing world political-economic sphere. Ang Lee has lent his name to a film that can in 2001 be seena celluloid representation of the process of globalisation & unlike other globalisation events re: Seattle & Prague, this one is popular!!!
Another Ang Lee triumph, that confirms his positionone of the top 3 contemporary directors. Whilst not quite up to "Ride The High Country", this is a stunning beautiful film. The fights are electric, the photography is rich, and we have a good old-fashioned adventure/romance tale. It calls on so many other genres other than just martial arts. Catch a quality film, or if you're sad go see "Castaway".
This is a great movie, but it needs a sales job because it's in Mandarin.
Crouching Tiger, Hidden Dragon is the fourth book in the Crane-Iron Pentalogy, written by Chinese author Wang Dulu [1909-1977]. The other four books, written between 1938 and 1942, include: (1) Crane Frightens Kunlun/He Jing Kunlun, (2) Precious Sword, Golden Hairpin/Baojian Jinchai, (3) Sword's Force, Pearl's Shine/Jianqi Zhuguang, and (5) Iron Knight, Silver Vase/Tieji Yinping. As of 2007, no official English language translations of his novels exist. However, there is a manhua (comic book) series created by Andy Seto. Crouching Tiger, Hidden Dragon was followed by <a href="/title/tt2652118/">Crouching Tiger, Hidden Dragon: Sword of Destiny (2016)</a> (2016). "Crouching tiger, hidden dragon" is a Chinese idiom that describes a situation where a great deal of outstanding ability or exceptional talent is concealed in the seemingly ordinary appearance of those who possess such quality or refers directly to those who choose not to reveal their true capabilities. Examples of the idiom's common usage in modern Chinese may include: "This place is [full of] crouching tiger(s) [and] hidden dragon(s)" and "Through the years I never realized that he was [such a] crouching tiger / hidden dragon." The "wu" in "wuxia" refers to "martial arts" or "combat". The "xia" refers to a person whose sense of righteousness is so profound that it empowers them to sacrifice themselves and even break the law to help people. The closest equivalents in English would be the hero, knight, warrior, or vigilante in superhero comics. See here for more information about wuxia and the xia. In terms of wuxia masterpieces, <a href="/title/tt0064067/">Bao biao (1969)</a> [Have Sword, Will Travel] (1969) and <a href="/title/tt0064451/">Xia nü (1971)</a> [A Touch of Zen] (1971) are seenthe influential epic grandmasters of the genre. More recent movies similar to Crouching Tiger, Hidden Dragon include <a href="/title/tt0299977/">Ying xiong (2002)</a> [Hero] (2002), <a href="/title/tt0385004/">Shi mian mai fu (2004)</a> [House of Flying Daggers] (2004), and <a href="/title/tt0446059/">Huo yuanjia (2006)</a> [Fearless] (2006). Some wuxia elements can be seen in non-explicitly martial arts films that feature justice seekers who acquire extraordinary fighting skills and often operate outside the state law. Examples may include works from a wide variety of genres suchwestern, Japanese jidaigeki (period drama), and superhero. Akira Kurosawa's <a href="/title/tt0047478/">Shichinin no samurai (1954)</a> [Seven Samurai] (1954) and <a href="/title/tt0055630/">Yôjinbô (1961)</a> (1961) are good examples. The latter has a scene similar to the one where the thugs harass Jen in the restaurant, with the thugs bragging about their abilities and criminal records. It's a scene that was also donean homage in <a href="/title/tt0076759/">Star Wars (1977)</a>—the cantina scene.
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