# Wo hu cang long (2000)

### reviewed by
Jerry Bosch

    CROUCHING TIGER, HIDDEN DRAGON

    Review by Jerry Bosch

As I walked out of CROUCHING TIGER, HIDDEN DRAGON I thought to myself that I had had just seen a great film. With the passage of a few hours I tempered my enthusiasm and started pondering the question of whether a masterpiece must implicitly be a "great" piece of work and viceversa. Attempting to make a distinction may be a matter of splitting hairs. I avoided a commitment by appealing to etymology. As the word implies, a masterpiece is any work which embodies the skills of a master. As such it should suffice to say that it is a product of exceptional quality. CROUCHING TIGER, HIDDEN DRAGON fits comfortably in that category.

CROUCHING TIGER, HIDDEN DRAGON immerses the viewer in an idealized world of oriental folklore, with the requisite blend of legend, fantasy, magic and mythology. It is reminiscent of a Wagnerian epic with characters which might as well be half-gods - greater than life, purer than life, stronger than life, physically invincible and able to accomplish superhuman feats, but with a human soul that makes them ultimately vulnerable. All the classic elements of the oriental mystique are thrown into the mix, including the art of contemplation and the concept of martial dexterity as the physical equivalent of spiritual advancement. The classic struggle between good and evil is the inevitable backdrop, with advanced masters of each and a golden pupil, which must choose between the two. It is the gifted pupil who, under the influence of the evil master steals the Holy Grail in the form of a magic sword which is the focus of the conflict at the heart of the legend.

The elements of romance at two different levels of enlightenment (a pair of masters and a pair of youngsters) are poignantly represented. The paradox of oriental restraint existing side by side with all consuming passion in the same breast is projected effectively.

The fight scenes are stunning balletic tours-de-force, not to be taken literally but clearly to be enjoyed as superb cinematic art, as are the prodigious leaps and flights to, from and between rooftops, the martial combat at the top of swaying bamboo branches and the combatants skipping like pebbles along the surface of a lake. There need be no question of suspended disbelief when one is in the presence of poetry.

As in a Wagnerian opera there is a substantial story line, which takes place at an ordinary human level, yet the entire project is to be accepted as a work of art rooted in fantasy. Do not assume, however, that the art is limp-wristed. For those who are put off by the "art" label this film can be confidently recommended as engrossing entertainment at the levels of adventure, action and romance.

There are no weak performances in this movie. Michelle Yeoh imbues her character with depth, humanity and wisdom. Chow Yon Fat projects dignity and purity of heart. Zhang Ziyi is a budding superstar. She is radiantly beautiful and totally persuasive in a multifaceted role. Cheng Pei Pei as the evil master and Chang Cheng as the bandit prince acquit themselves admirably. Kudos to screenwriters James Schamus, Wang Hui Ling and Tsai Kuo Jing, choreographer Yuen Wo-Ping, photography director Peter Pau and music director Tan Dun, each of which contribute quality components to this extraordinary film. Ang Lee as the director, co-producer and mastermind of the project gets the lion share of the credit.

This is destined to be one of those films that everybody likes, including those who hate martial arts movies. Don't miss it.

    4 ½ out of 5 stars

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