A Film For Every AmericanWithout the success of Ang Lee’s film Crouching Tiger, Hidden Dragon (Wo Hu Cang Long), released in 2000 to immediate international acclaim, one might suggest (and with some levity) that the entire landscape of American filmmaking would be drastically different today. Prior to its release and subsequent box office and critical achievements, Asian films, actors, and filmmakers were essentially a novelty in the United States; limited to creating gimmick-riddled martial arts films for the English speaking action audience, and, in the process, only scratching the surface of an intensely complex and beautiful culture by presenting an easily-digestible and highly elementary version of it. Excepting the films of Akira Kurosawa and Hayao Miyazaki, commercial success for Eastern films in the Western world required a rigid format: ninjas, fighting, and more ninjas, all tied neatly together by tacky English overdubs. However, soon after the release of Crouching Tiger, Hidden Dragon, rising ticket sales and startling critical buzz (including four Academy Awards) proved that Ang Lee, an already established filmmaker in the United States, had successfully broken the implied restraints placed on Asian film in the English-speaking market by fusing together, in a dazzling and infinitely entertaining fashion, the immediately gratifying aspects of an action flick with the passionate and emotional appeal of a romance.The action sequences in the film are, to say the least, stunning. The rapid-fire visual arrangements and unbelievably intricate choreography contained within the film create an irresistible entertainment quality that draws the viewer immediately into the story and maintains its grasp throughout. Additionally, these fight scenes are not without significance. Like Hero (2002) and House of Flying Daggers (2004), both similarly successful Wuxia films, Crouching Tiger, Hidden Dragon utilizes these scenes to instruct the viewer thematically, and in the process contributes key information in developing the storyline. In the film, Jen (played by the absolutely flawless human being, Ziyi Zhang) the daughter of an important government official, is torn between her arranged marriage, her dream of vigilanteism, and her unapproachable love of vagabond and criminal Lo. After stealing the famed sword Green Destiny from the home of nobleman Sir Te and running away from her parents care, she is pursued tirelessly by heroic swordswoman Shu Lien and her companion, the legendary Wudan fighter and disciple of Southern Crane, Li Mu Bai. Throughout this pursuit, Shu Lien and Li Mu Bai, moved by their own impossible love for each other, instruct and advise Jen as to her decision using analogies and parables characteristic of more elaborate Eastern culture. These important sections of dialogue occur almost exclusively within fight scenes and swordplay itself is often analogized in an attempt to connect with the war-bent brashness of young Jen. Thusly, the battle motif accomplishes both a significant thematic and cultural contribution and, at the same time, creates an atmosphere more conducive to American audiences.The second significant aspect of Ang Lee’s Wuxia masterpiece centers around two simultaneous love relationships; both of them in a sense forbidden. First off, the film presents the highly precarious and intensely complex companionship of Shu Lien and Li Mu Bai. From the outset of their on-film connections, Director Ang Lee creates a somber and reflective mood that signals immediately the pain and longsuffering the two have felt at the hands of their unrealistic love. By itself this relationship is a classic narrative of love-lost presented in an interesting and cultural way that offers a variety of relevant emotional insights. However, the significance of their constant push-pull association and its ultimate demise becomes even greater when juxtaposed with the similarly restricted love of young aristocrat warrior Jen and her love, the desert criminal Lo. The side-by-side placement of the missed opportunity of love by Shu Lien and Li Mu Bai and the still obtainable companionship of Jen, who is torn between three impulses--and Lo, who is torn by his unrealistic love of Jen, creates ultimately a feeling of hope and satisfaction. In the end, when Li Mu Bai dies at the hands of his arch enemy’s poison and Shu Lien’s dream of finally requiting her life long goal of satisfying her love for him dies alongside, she is finally able to convince the young and mislead girl Jen to pursue her love and abandon all other pathways. This element of Lee’s richly complex and emotional film separates Crouching Tiger, Hidden Dragon from the surface-value appeal generally designated to cultural Asian films released in the United States of America and lifts it to a pedestal untouched by most films; Asian or otherwise.All in all, the film is the perfect amalgamation of action and romance. By appealing, whether intentionally or not, to both a surface definition of entertainment and a more intensely complex and emotional level, Crouching Tiger, Hidden Dragon creates an atmosphere of gratification and enjoyment unparalleled by the majority of mainstream film. Compounded by stunning visual imagery, compellingly deep acting performances by each member of the cast, and a rich cultural context, Ang Lee’s 2000 blockbuster is still today one of the finest mainstream viewing experiences I’ve had the pleasure of taking part in.REVIEWS:Breathtakingly Beautiful..., 10 September 2000Author: Drakkhen from TorontoAs a film student living in Toronto, I look forward to the Toronto International Film Festival every year. Last year, the highlight of the festival for me was American Beauty. This year, it would have to be (so far) Ang Lee's "Crouching Tiger, Hidden Dragon".Being of Asian descent, I've seen my share of wu xia genre movies to last me a life time. However, most of them are so centred on the fighting, that they forget the rest of the elements that are involed. The movie turns into one long scripted fighting scene with maybe a slight hint of story. Crouching Tiger, on the other hand realizes these issues, and builds these oh-so entertaining action sequences into an epic with typical asian themes such as true love and honour.Being an epic, one would expect the usual long takes and establishing shots, and boy does it ever look beautiful. Traversing through a myriad of regions spanning the lengh of China (from the deserts to bamboo forests, to mountains high in the clouds), the film soley based on its asthetic properties is nothing short of stunning. The lighting of different landscapes and the exquisitly designed costumes all radiate with stunning colour. And then there's the cinemetography. Wow! The backdrops, establishing shots look absolutely marvelous. If your jaw dropped when you saw Rome and its coliseum in Gladiator, wait until you see ancient Beijing recreated on the screen!Okay, so it's a good looking movie. What about the story? The complexity of the plot is rather sparse, probably reminiscent of epics such as Braveheart or Gladiator, which is by no means a bad thing. Although both Chow Yun Fat and Michelle Yeo did have major parts, this movie belongs mostly to Zhang Ziyi who IMHO did an amazing job playing a very complex role (one which required her to represent nobily as a princess, naivness, as well as show inner strength). Mainly concentrating on her unwillingness to give in to the ideals of an arranged marriage, the decently written script adds a story of an old warrior trying to retire and a 300+ year old sword.All in all, this film blends story, well choreographed action, and a stylistic eye to create a mythilogical piece that not only represents the wu xia genre justly by doing it well, but also contributes to raising the quality of filmmaking usually applied in the making of a similar type of film.Beware of cheap imitations, 22 December 2004Author: j30bell (j30bell@yahoo.co.uk) from London, EnglandCrouching Tiger is Ang Lee's take on the Wu Xia tradition of film making. Wu Xia, for those not familiar with the style, evolved out of popular Chinese fiction. It contains formulaic elements such as honourable warriors, powerful swordswomen, powerful swords, and often magic and mythical beasts. Possibly, it has a parallel with sword and sorcery pulp literature – and even Western romances.Although he grew up in Taiwan, not Hong Kong or China, Ang Lee has said he has always wanted to make a Wu Xia film. When he did, he brought sophistication and strong production values which, while not uncommon in mainstream Chinese cinema, was less common in the martial arts or Wu Xia traditions.Make no mistake; Crouching Tiger is a beautiful, beautiful movie. The colours are rich, the light dances and the movements are balletic. But unlike lesser imitations, such as Hero, it is much more than that just stylish production and mesmerising action.Most films (Western or Eastern) have a rigid plot against which characters move. At worst the characters become ciphers; they advance the story by making choices regardless of whether these choices are in keeping with their character. Crouching Tiger, like the best of cinema, has dynamic characters whose internal struggles advance the plot. The dog wags the tail, not the other way around.At the heart of Crouching Tiger is the relationship between Li Mu Bai (Chow Yun-Fat) and Yu Shu Lien (Michelle Yeoh). Mu Bai is looking for a way out of the Gang Ho (Warrior) lifestyle – he joins a monastery, as a route to enlightenment and peace, but cannot cast aside his unrequited love for Shu Lien (another warrior). On the brink of declaring their love for one another, Mu Bai's Green Destiny Sword is stolen, and his arch enemy returns. He must temporarily put aside his feelings to recover the sword and bring his master's killer to justice… Seeming to take a fair chunk from his previously directorial role, Sense and Sensibility, Ang Lee weaves a story which tragically juxtaposes the loving and giving but repressed relationship of Mu Bai and Shu Lien, with the fiery, wilful and destructive passions of Jen Yu (Zhang Ziyi) and Lo (Chang Chen). The result, for me, was breathtaking.Some critics have suggested that the characterisation is quite slight. I think this just demonstrates the high standard to which they were prepared to judge this film. Ang Lee perfectly marries action/adventure with drama. The results may not please purists from either camp, but for the rest of the audience it is pure magic.In many ways, Crouching Tiger Hidden Dragon is pure Wu Xia. But it has also re-invented the genre and given it artistic credibility. The greatest joy of the film is watching great Hong Kong stars like Chow Yun-Fat and Michelle Yeoh being given characters with depth – and watching them fill the screen with their performances. The film also benefits from great performances from Zhang Ziyi and a very under-rated Chang Chen.Quite simply, Crouching Tiger has everything. It is beautiful, breathtaking and deeply moving. 9½ /10A Vivid Dream And An Action Fantasy, 21 March 2001Author: columbia2453 from U.S.A.Less than half an hour into the viewing of this masterpiece I knew this would become one of my favorite films - of all time. Only in my wildest dreams (quite literally, this movie has touched me on a personal level) have I visualized such fantastic and precise choreography, so captivating that to take your eyes away during the intense confrontations is to deny yourself the essence of what makes this film so wonderful.With an artistic license unprecedented, the action scenes are entirely unbelievable but purely the work of a fabulous imagination. The magical settings and the colorful characters fit well into the plot but you will take away the breath-taking martial arts sequences.