FLYING SWORDS OF DRAGON GATE
(Long Men Fei Jia)
During the late 1990s (following the 1997 handover), Hong Kong cinema went into a period of uncertainty and the traditional Wu Xia cycle died away. It was revived in China a few years later. Successes such as Crouching Tiger, Hidden Dragon (2000), Hero (2003) and House of Flying Daggers (2004) paved the way towards a series of lushly extravagant CGI-enhanced showcase dramas where the pulp energy of the originals was mounted with all of the budgetary resource that mainland China could muster. During this arthouse Wu Xia boom, Tsu Hark was one of the directors from the original fad to return to work in the genre with works like Seven Swords (2005) and Detective Dee and the Mystery of the Phantom Flame (2010).
Flying Swords of Dragon Gate is the first of these new Wu Xia films to remake an older work. In this case, it works over New Dragon Gate (1992), which Tsui Hark produced for director Raymond Lee. This in turn was a remake of an earlier film by King Hu, Dragon Gate Inn (1967), which is regarded as a classic of the original embryonic Wu Xia cycle. The story in both films features a divers group of swordsman, outlaws, imperial bureaucrats and gender-disguised arriving at an inn in the desert as it is beset by a storm whereupon ensues much skulking about the inn and its hidden passageways. Flying Swords of Dragon Gate keeps a similar mix there are now two competing houses of the imperial bureaucracy and the addition of a city beneath the desert that contains a great treasure albeit rewritten with a new cast of characters.
Tsui Hark is a director who tends to be somewhat cavalier-like when it comes to matters like plots. The Zu films, for instance, are impossible to make any sense of. The same problem settles in as Flying Swords of Dragon Gate begins. The film has a wide canvas of characters where it is not always clear who is who, which side they are on and how things tie together. None of this is made any clearer through reading the film in subtitles, not to mention that we have several characters imposting others and one character and his double running about. To Tsuis credit, things clear up considerably when the film arrives at the Dragon Gate Inn. From about this point, the disparate character strands suddenly gain an enormous life as the film starts playing the various factions and their shiftings of allegiance off against one another. The whiplash twists and turns and comic permutations prove highly entertaining. And eventually the plot does work far better than what you initially expected it to.
Tsui Hark is one of the few directors from the original Wu Xia cycle of the 1980s/90s to have flourished in the new Chinese-run Hong Kong. He has readily adapted to the new CGI-driven Wu Xia. Flying Swords of Dragon Gate is written across an epic-sized canvas and comes with an extraordinary richness of colour. It also makes the boast of being the first Wu Xia film shot in 3D although technically it was beaten by Sex and Zen: Extreme Ecstasy (2011), which had some Wu Xia elements. I am in the position of only seeing it flat, nevertheless we get various shots with swords, knives and nunchuks being thrown into the screen, of the camera passing through scenery or fights conducted in narrow spaces such as caves and the pilings under a stand. Where the film finds its real strengths are when it comes to the climactic battle scenes between arrayed armies and insurgents with people engaged in sword and martial combat in the middle of the desert, around the inn and the final confrontations in the midst of the lost city, which comes with much mid-air flipping and twirling, even combatants fighting on the back of a horse, and in particular Jet Li and his enemy Chen Kun being swept up into the midst of the storm fighting with swords in mid-air while bound together with a chain wrapped around their wrists.
Tsui Harks other genre films as director are:- The Butterfly Murders (1979), Were Going to Eat You (1980), Zu: Warriors from the Magic Mountain (1983), Aces Go Places III: Our Man from Bond Street/Mad Mission III: Our Man from Bond Street (1984), Green Snake (1993), Butterfly Lovers (1994), Zu Warriors/The Legend of Zu (2001), Black Mask 2: City of Masks (2002), Missing (2008), Detective Dee and the Mystery of the Phantom Flame (2010), Young Detective Dee: Rise of the Sea Dragon (2013) and and Journey to the West: Demon Chapter (2017). Tsui Hark has also produced A Chinese Ghost Story (1987), The Laser Man (1988), Roboforce/I Love Maria (1988), A Chinese Ghost Story II (1990), Swordsman (1990), A Terracotta Warrior (1990), A Chinese Ghost Story III (1991), The King of Chess (1991), New Dragon Gate Inn (1992), Swordsman II (1992), Iron Monkey (1993), The Magic Crane (1993), Swordsman III: The East is Red (1993), Wicked City (1993), Burning Hell in Paradise (1994), Black Mask (1996), A Chinese Ghost Story: The Tsui Hark Animation (1997), Master Q (2001) and Vampire Hunters/The Era of Vampires (2002).
Full film available online here:-