Last November, Zhang Yimou’s highly anticipated masterpiece was finally released in Australia, two years after it was finished. Three months later, Yimou is back in ancient lands with his follow up to Hero, House of Flying Daggers. It follows a similar plot – emperor under threat seeks to eradicate opposition – but employs more traditional methods to tell the story of an undercover cop (albeit old school – this is set around 900AD) attempts to infiltrate the resistance. His plan is thwarted by the unexpected passion he discovers for his beautiful prey, one of many surprises in store for the warrior. Although there is a sense of ‘seen this’ about House of Flying Daggers, don’t let distributor’s illogic put you off watching another great film from a master filmmaker. No shot is wasted in the meticulous execution of this achingly handsome epic.
From the near whimsy of its setup to the painful conclusion, Zhang demonstrates again and again why he is at the top of his field. Granted, the finale is distinctly, operatically melodramatic, but it is the culmination of a grand adventure punctuated by stunning set pieces and stirring emotion. By then you’ve long forgotten that the story is about as solid as a high-school fling. The director’s skill rests in an innate ability to rigorously employ every facet available to a filmmaker – colour, sound, scale and music amid the choreographed ballet of violent martial arts on a canvas of beauty so striking it could be a painting. This is an enthralling work that challenges your heart, mind and eye in equal measure.
// COLIN FRASER