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Crouching Tiger, Hidden Dragon is simply a masterpiece. A shimmering film with tall performances by its stars, Michelle Yeoh, Chow yun bulky, and especially Zhang Ziyi. Director Ang Lee along with his choreographer swear this memoir fable in a lovely and creative visual device that makes this film one of the greatest ever made. The action scenes in this film are jaw dropping, and are unmatched by any action film ever made. Along with the action, is a enormous chronicle and titanic characters that judge influences from Lord of the Rings, and parallel the Jedi of the Star Wars trilogy, but remain consistent with the eastern culture and philosophy which permeates throughout the legend. In fact, the main characters, especially Jen, portrayed by the talented Zhang Ziyi, seem to request that philosophy and culture throughout the film, almost rebelling against it. This is foreshadowed in the beginning of the film when Yun-fat’s character describes how his meditation leads him to a plot of sorrow instead of enlightenment. In a later scene, Yeoh ’s character questions the buddhist teaching of Fat’s character in relation to their suppressed treasure, pointing out the touch of her hand is loyal,not an illusion, even though it is of this world. However it is also the discipline of this eastern spirituality that gives these knights their power. the main character Jen, abuses this power, along with the power given to her when she posesses the Green Destiny, a magical and remarkable sword, owned by the wizard -like, or jedi- like, character portrayed by Chow Yun-Fat. The Green Destiny, noteworthy like the ring of power in lord of the rings, or the force in Star Wars, becomes a power that threatens to seize Jen. Throughout the film, Jen rebels against the traditions of the easten culture and philosophy. Even during the action scenes, as Chow Yun-Fat’s character scolds her, she responds by telling him to conclude talking like a monk and fight. Her rebellion is also reflected in her treasure for a barbarian that lives in the desert. Jen’s rebellion is an coarse one, however, that leads to such deep despair, that it leaves the viewer to request if even the proper treasure she found in the desert can effect her. This movie has everything one wants in an myth, large epic, acting, cinematography, directing, accumulate. This film should pick up an Oscar for Best Record… Crouching Tiger Hidden Dragon is truly a huge film.

There’s a telling moment come the beginning of Ang Lee’s “Crouching Tiger, Hidden Dragon.”

In closeup, we gawk the rough-hewn, heavy wooden wheels of a peasant cart. They nestle in deep ruts faded into the stone paving blocks of a roadway entering a gated city. The cart rumbles on, its wheels fitting perfectly into the grooves stale by unspoken centuries of honest such passing wagons…in one image we glance how tradition creates its occupy paths, how contemporary reality is fabricated to fit such traditions… The camera rises, we perceive an almost impossible panorama of Peking, the Forbidden City spreading out before us like an Oz extending to the horizon.

What a film this is. While it may not be the most wondrous thing ever…it is a genuine action adventure romance with terrific acting and a much-welcome heart at the core of all that technical superiority. The action sequences are the kind that lift the breath away and inspire a sense of horror, rather than the sort that leave you white-knuckled and sweaty.

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“Crouching Tiger…”, I am told, is representative of a specific literary/cinematic genre in China: Wu Xia…the wizard/warrior fragment…magic and martial arts blended. I’m not familiar with the produce, but the world portrayed here is a breathtakingly fantastical one. The sage is putatively residence in 19th century China, but it could be anywhere, anywhen. It is a space of high honor and deep feelings, a area where people are saunter by traditions and held captive by their forms. It is also a state of wild and mythic landscapes…from stark desert (opinion nowhere do we secure that featureless, wide-screen linear horizon seen in David Lean’s “Lawrence of Arabia!”) to magic misty green mountains with deep unlit lakes and steeply cascading streams that reach braiding, tumbling down the rockslide heights. High, reedy bamboo forests wave, wondrous, in sighing winds.

In this world people may do extraordinary things. The flying in this movie — properly called “wire work” in film terms — is wonderful. This technique, of course, was not invented by the Wachowski’s, but the choreographer of “Crouching Tiger…”, Woo-ping Yuen, also staged the wire-fights of “Matrix.” Here, the ability of our warrior heros and villains to climb walls, to leap to the rooftops and wing from building to building — not to mention spirited each other in aerial combat that soars from the peak of a mountain top to the rocks of a mountain stream in a single hold — or to duel on the very tips of dipping, waving bamboo trees — looks almost plausible, objective over the border of the possible, at least. The whole packed-in audience at the stout theater at the advanced screening at Pipers Alley in Chicago burst into spontaneous applause several times throughout…

At other moments, I found myself in weepy transport. As I consider of the fight in the treetops, legal now, I become drippy — tingly of recognize and sinus.

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Apart from all else, this is large storytelling! It has passion, treasure, revenge…it expresses deep need and longing.

Pant, pant, pant…

And, yes, the woman are the action hearts of the film! Michelle Yeoh is improbable…but I’ve been in worship with her for years. Here, she is more customary, quieter, wiser than in any role I’ve seen her in. Her performance is strong and inspiring, her face registering, magically, a range of conflicting emotions, hidden secrets, crouching angers, all at once. In acting training we were always told you can’t do that. She does it.

Chow Yun Chunky, too…I’ve been a fan of his since I first discovered John Woo’s Hong Kong crime thrillers…is the best I’ve ever seen, as well…pleasing in his silences. Strength without cruelty.

The center of the film…remarkably…is a girl who looks to be about 15! Ziyi Zhang whose date of birth is given as 1979. Zhang is from Beijing, China, and has only one other film credit. I say that she is noteworthy because her fable is the binding element of the film. And she holds the film together! Holding her hold with Yeoh and Chow in both the dramatic material and in the balletic martial pas de deus (okay…did I spell that apt? ) that frame the conflicts between them. She is the “Luke Skywalker” of the fragment, if you will…though “Crouching Tiger…” has everything the “Star Wars” saga had: excitement, thrills and magic, but here, it is wrapped in those things Lukasfilm wanted to give, but succeeded in delivering in only the most self-conscious way: heart and deep-placed spirit.

By the way: this is an action film, almost uniquely without violence…or, rather, the violence is so stylized, so removed into some mystical realm, that it almost disappears into dance. There is, I beget, only one exiguous splash of blood onscreen. Typically, I don’t like that — figuring that if you’re going to do a film where violence is section of it all, where action advances area, let’s have it full-bore, the “Fleshy Peckinpaw,” if you will. Here, however, this stylization works beautifully!

While there are those who might grumble that Jackie Chan (another common of mine) does it all for steady, without wires and trick photography…okay…fair enough… But here that exuberance of motion is assign in service of a big anecdote and strong characters who carry worthwhile burdens of emotions!

So there. Enough? Objective go peruse it.

I can’t wait for the DVD! I’ll probably eye it again, maybe peep it twice again, before it hits the home-market.
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