The Sword
Though Patrick Tam is considered one of the leading
directors of what has been termed The New Wave movement of the early
80s in Hong Kong, his debut film, The Sword, actually seems to look backwards
rather than forwards. Almost as if the kung fu and ultra violent Chang
Cheh sword-fighting films had not existed, The Sword seems to immerse itself
nostalgically in the mood and style of the classical wuxia films of the
60s and early 70s
It has certain modernistic inflections the hero
has shades of gray about him, the cinematography utilizes some intriguing
angles and transposition shots, a fabulous fade to red but overall the
film could easily be viewed alongside the films of King Hu. Like Hu, Tam
has an incredible eye for detail, elitist artistic and cultural sensibilities
and he uses the camera to paint scenes as much as film them. The film is
beautifully shot each frame looking meticulously planned out and it
generates a cool, urbane, formal and very aesthetic feel to it. It is the
type of film in which one of the characters gently sips tea excuses themselves
and goes off to commit suicide in a wordless display of honor and tact.
To some degree this drains the passion out of the film but it is so well
filmed that I found it completely engrossing. It is almost as if Tam had
to create this film a homage perhaps to the classical films that he grew
up with before he could move on to the more experimental films that were
to follow.
Before I make this sound like a dull walk through
a beautiful art gallery, I have to mention that the action scenes of
which there are many are incredibly entertaining. Again to a large extent
they forego the extreme violence of the then contemporary films but the
sword fighting choreography is stunning and imaginative. Much of the credit
for this must go to Ching Siu-Tung who choreographs the action with such
verve and panache that much of it made me smile at the simple pleasure
of watching it. Mixing the graceful clashing of swords with the measured
use of trampolines and wires make it a visual candy store. Much of what
Ching brings to this film, he utilizes later in his groundbreaking Duel
to the Death.
Adam Cheng (who had just become a star for his
turn in a TV series called The Story of Book and Sword and was to star
in many sword films) is roaming the Chinese countryside looking for the
retired Master Wah (Tien Feng) who is a legendary swordsman. He runs across
a young, spirited woman who is being chased after by a nasty looking killer
(Lee Hoi-sang) and he helps her out though she is a fine swordswoman
in her own right. Afterwards they decide to accompany each other in their
travels but Cheng soon crosses paths with his old girlfriend, Hsiao Yue
(Chen Chi Chi), and the viewer learns that Cheng left her ten years ago
to begin his obsessive odyssey like search for Master Wah.
Hsiao Yue is now married to Norman Tsui who is
a nasty piece of work. His right hand man is Eddie Ko a ninja like assassin
with total dog like loyalty to his master. Tsui doesnt appreciate the
fact that the old boyfriend to his wife is around and orders Ko to kill
him. This is one of three terrific duels between Cheng and Ko that are
suspenseful and edgy. Ching Siu Tung has Ko scuttling along the floor,
moving in the shadows and hiding on the ceiling in splendid fashion as
he tries to kill Cheng.
Finally, Cheng finds Master Wah, but his intentions
are not what you expect and though Cheng is basically an honorable fellow
his actions begin a series of events that lead to tragedy and death for
many of the characters. In the end he must face Norman Tsui and this final
duel is an incredible display of cinematic and physical artistry as they
fight to the last drop of blood and the final look of horror by Cheng at
what he has wrought is a classic shot.
This film is available on VCD and though the transfer
shows lots of wear and tear, the sub-titles are fairly easy to read and
it is well worth your time. Hopefully though, a DVD version of this will
make an appearance some day.
My rating for this film: 8.0