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Starring
:
Samuel
Hui
Jacky
Cheung
Cecilia
Yip
Cheung
Man
Lau
Siu Ming
Yuen
Wah
Fennie
Yuen
Lau
Shun
Lam
Ching Ying
Wu
Ma
Action
:
Ching
Siu Tung
Lau
Chi Ho
Producer
:
Tsui
Hark
Director
:
King
Hu
Tsui
Hark
Raymond
Lee
Ching
Siu Tung
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SWORDSMAN
(1990)
A.K.A.
- Swordman; The Swordsman
Reviewed
by Andrew Saroch
One
of the surprise success stories of Hong Kong cinema in 1990
was 'Swordsman' - a film that attempted to combine the
traditional elements of the swordplay film with the modern
production aspects that were associated with directors like
Tsui Hark and Ching Siu-Tung. The main success of the film was
not in its respectable box-office figures though; the
memorable triumph of the film was the introduction of the
new-wave swordplay film and the artistic importance this new
sub-genre had on 90's Hong Kong film-making. 'Swordsman's'
influence was seen in the following years not only with the
two sequels that followed, but also in the popular Hong Kong
hits that were subsequently produced i.e. 'Ashes Of Time' and
the remake of 'Dragon Gate Inn'. Even Cantopop idols like Andy
Lau, Aaron Kwok and Leon Lai were appearing in new-wave
swordplay films and their influence is also seen in some of
Chow Sing-Chi's traditional works.
The
character-heavy plot of 'Swordsman' centres on the quest by
numerous clans for the sacred 'Sunflower Scriptures', a
martial arts manual that, it is rumoured, offers any
practitioner almost supernatural abilities. When these scrolls
are stolen from the royal library, the finger of suspicion
points at nearly every clan in China and the real thief's
identity becomes submerged in intrigue. The Royal Eunuchs send
out one of their loyal and cruel puppet-clans to retrieve the
scrolls at all costs and stop this untold power getting into
the wrong (or right) hands. Into this powderkeg-situation
wanders swordsman Ling and his young assistant Kiddo who
belong to the well-respected Hwa Mountain Clan and are
travelling back to their master. Ling discovers the location
of the scrolls from a clan chief named Lin who, as he slowly
dies from wounds inflicted by the Royal Eunuchs' lackeys,
entrusts the honourable swordsman with the secret and asks him
to tell his missing son about it. Unbeknownst to them both,
Lin's son has been killed and an impostor from the royal court
has taken his place in an attempt to find out the secret.
After encounters with a whole host of clans and warriors, Ling
also begins to wonder if his own master is as innocent as he
pretends to be and if there is anyone who isn't prepared to
betray or back-stab in order to own the 'Sunflower
Scriptures'.
'Swordsman'
is undoubtedly a film that improves with successive viewings.
Initial impressions are that this is a convoluted and
confusing swordplay film that attracts the eye with its visual
flair, but is ultimately easier to admire than to warm to.
However, on second and especially third viewing, 'Swordsman'
reveals more of its hidden depths and draws the now prepared
viewer into its character-laden storyline. It is certainly
true that this gradual appreciation for the film develops into
more than just a cold admiration and stands out as an
engrossing new-wave film. This doesn't mean that it is ever
easy to understand though; the abundance of protagonists and
the endless intrigues make sure that even a momentary lapse of
concentration is punished. The labyrinthine plotting is not
helped by the film's troubled production as the directorial
responsibilities were shared by seasoned helmers like King Hu,
Ching Siu-Tung and Tsui Hark with various styles sometimes at
odds with each other. The main credit for director is afforded
to King Hu with the legendary craftsman's ability to combine
tension and a complex narrative becoming increasingly
apparent. Nevertheless, the three co-directors each give some
indication as to their own thoughts on how the film should
develop; this can make for a very unwieldy package.
Patient
viewers can rest assured though as 'Swordsman' is well worth
the time spent viewing it. The visual vibrancy of the film and
the sheer magic of the swordplay genre give the film a
constantly entertaining feel. The film's vast plethora of
characters and clans are strangely engrossing too as the
viewer feels privy to this beguiling world. In the lead role,
Samuel Hui is a major attraction of the film with his acting
abilities and unique screen presence easily compensating his
lack of sword skills. Jet Li would go on to take the character
of Ling to the next level of physical skills in the sequel,
but Hui is excellent as the main character and gives the film
a sympathetic lead. Jacky Cheung makes a surprisingly
effective villain with his creeping sycophantic character
making a perfect villain for Ling. Fans of this genre will
also be pleased that the action - though fantastical - is
inventive and deftly handled by Ching Siu-Tung and co.
'Swordsman' is not as strong as its superior sequel and the
aforementioned difficulties are all apparent, but it is still
an ultimately rewarding film.
Rating:
 
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