The House Of Flying Daggers

Synopsis: In 9th century dynastic China, two Tang agents (Andy Lau and Takeshi Kaneshiro) search for spies and plots against the government. The House of Flying Daggers is infamous both for being the key rebel organization fighting the government and for its use of these small knives to create havoc. Whilst checking out suspicious activities, the two enter a brothel and witness an extraordinary performance from a blind woman (Ziyi Zhang), who is most adept at responding to sounds in a dance where she literally flies through the air. The two men become rivals for her affections amidst the conflict that ensues.

Zhang Yimou is a  master filmmaker with a strong visual style who uses standard narrative devices yet manages to imbue his films with deep personal and cultural resonance.

House of Flying Daggers is a simple tale and light on narrative development. Instead of complications of plot, it is the twists and turns of character that provides the impetus for the story. It is, however, as visual spectacle that the film triumphs. The choreography of the battles sequences, surpassing that found in Crouching Tiger, Hidden Dragon (Ang Lee, 2000), is very impressive (and were computer enhanced by a few Australian digital special effects organizations). Yimou's use of seasonal scenery to stage the epic battles and the set the tone for the romantic tragedy of the story are exquisite in execution. Yet, whilst the film is extremely stylish it is restrained in its depiction of the politics of the day.

As a sumptuous visual treat with an epic love story, set amidst political turmoil, I can heartily recommend House of Flying Daggers. And as a small aside, Kathleen Battle sings the closing love song over the credits in a way that easily expunges memories of Celine Dion's hysterical song that concludes Titanic (James Cameron, 1998).

 

 

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