Consolidating and refining on his previous Kung Fu/Martial Arts film, COME DRINK WITH ME/’66, visionary director King Hu left Hong Kong based Shaw Brothers to double-down on exotic style, pageantry and splenetic fits of action on another ancient Chinese factional war saga. And while you won’t follow all the nuances and alliances as ruling Palace Eunuchs and their minion-like Eastern Depot warriors hunt down rebel warriors led by Wu and his men (plus a stupendous lone swordswoman) giving safe harbor to the remaining Yu clan after their father’s execution, you won’t entirely lose the narrative thread. Not only does Hu stage action like nobody’s business, in his hands, journeys, political wrangling and pre-battle staging hold nearly as much interest as fancy footwork, bloody slashings & lethal payoffs. (All looking swell after a 2013 restoration that has the EastmanColor print looking like Fuji film stock back when Fuji was the new competitor to KodaChrome.) Polly Ling-Feng Shang-Kuan debuted to instant stardom as a whirling dervish of a female warrior and lean Chun Shih is equally effective as an over-achieving bladesman. There’s a price to be paid being so influential, certain elements, especially in wire work have been surpassed, but the freshness and wonder largely holds up.
DOUBLE-BILL/LINK: An even better King Hu entry pic is RAINING IN THE MOUNTAIN/’79. https://maksquibs.blogspot.com/2020/10/kong-shan-ling-yu-raining-in-mountain.html
ATTENTION MUST BE PAID: Here and there, the traditional Chinese music score switches to (of all things) Mussorgsky’s 'Pictures At An Exhibition' in the Ravel orchestration . . . which really sticks out!
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