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Review by
Calvin
McMillin: |
"And
it is not in every hero's heart to want to become the one
true hero amongst heroes." So begins the Tsui Hark-produced
film Swordsman, based on the Jin Yong (Louis Cha)
wuxia novel Xiao Ao Jiang Hu (Smiling and Proud in
the Martial World). This movie, along with the popular Once
Upon a Time in China series, helped revitalize the martial
arts genre within Hong Kong's film industry. Most converts
to HK Cinema are at least familiar with this film's sequels,
Swordsman II and Swordsman III: The East is Red,
which feature such superstars as Jet Li (II only)
and Brigitte Lin (II & III). But it is
in the 1990 film Swordsman that the epic story truly
begins.
Set in the Ming Dynasty, Swordsman tells the story of the happy-go-lucky Ling Wu-Chung (Sam
Hui), a man who's as adept at drinking and singing as he
is at swordplay, and his tomboy sidekick Kiddo (Cecilia
Yip). The duo are given the simple task of delivering their
master's message to another swordsman, only to find themselves
embroiled in a bloody struggle for dominance in the martial
arts world. Unbeknownst to Ling and Kiddo, the Sacred Scroll
has been stolen from the Imperial Library. The document
promises "supernatural powers to see through things
and to let out power over great distances", thereby
assuring its possessor martial arts supremacy. Among the
hopeful are a power-mad eunuch, the vicious killer Zhor
(Yuen Wah), the duplicitous Ah Yeung (Jacky Cheung), and
even Ngok, leader of the Wah Mountain School and Ling's
very own master.
Along the way, Ling and Kiddo
encounter the Sun Moon Sect and after a series of misunderstandings,
befriend the whip-wielding Chief Ying (Cheung Man) and her
snake charming, second-in-command Blue Phoenix (Fennie Yuen).
In a fairytale twist, Ling shows kindness to a seemingly
helpless old man, only to find out he's actually a great
swordsman in disguise. In response to Ling's act of charity,
the old man teaches our hero some new swordfighting techniques
that prove helpful in the climactic battle. By story's end,
allegiances are betrayed, secrets are revealed, and heroes
emerge as all the film's surviving characters meet up for
the inevitable bloody showdown for possession of the Sacred
Scroll.
Swordsman is a film
that can stand on its own, but it works even better as a
prequel for viewers who have only seen Swordsman II and/or III. The film provides a lot of helpful backstory,
such as how Ling learned his distinctive swordplay style,
how he became friendly with the Sun Moon Sect, why he and
his buddies are retiring from the martial world in II,
where the song "Hero of Heroes" ("A Single
Laughter in the Sea") comes from, and ultimately how
much blood was shed in pursuit of the Sacred Scroll before
it fell into the hands of Asia the Invincible. Though Fennie
Yuen is the only actor who appears in both films as the
same character, the difference in casts shouldn't be a turnoff
for the uninitiated. Sam Hui and company acquit themselves
quite nicely in their respective roles, turning in several
noteworthy performances.
One of the more interesting
aspects of the film is the fact that Swordsman has
the peculiar distinction of having six different directors!
Though rumors of "creative differences" abound,
the official story is that original director King Hu became
ill and had to be replaced midway through shooting. To complete
the film, Tsui Hark split up directorial duties between
himself, Ching Siu-Tung, and Raymond Lee. Though uncredited,
Ann Hui and Andrew Kam also lent helping hands to finish
the movie. In all this confusion, it's a miracle that Swordsman is even a coherent film, but even more amazing is the fact
that it's a pretty good one, too.
As the opening statement of
the film suggests, this film has an underlying message.
One character laments, "Another lot of victims under
the sword. We are all made of flesh and blood. Why do we
make such a mess of our own world?" As evidenced by
the unrelenting quest for the Sacred Scroll, the film suggests
that all the problems of the world can be traced back to
the guiding principle embraced by many of the film's characters,
the obsession with "Name" recognition. The movie
shows that the true "Hero of Heroes" is the one
who does not seek recognition for his actions. It is remarkable
that Swordsman, a film that could be written off
as mindless HK entertainment, can still retain some moral
resonance. (Calvin McMillin 2002) |
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