Scute Dude's Place of Indulgence

House of Flying Daggers (2004) - Dir. Zhang Yimou

Wuxia films tend to be very hit and miss for me personally, but Zhang Yimou's 2004 film “House of Flying Daggers” holds a special place in my heart. From the beautiful vibrancy of it's cinematography and the mystical elegance of the choreography, to the purely magical soundtrack by Shigeru Umebayashi, House of Flying Daggers is a delectable feast of sounds and visuals.

There are too many scenes that merit discussion in this film, Mei's graceful dance to the beauty song in the Peony Pavilion, the echo game, and the battle in the bamboo forest are but a small handful. But as is my recent focal point; sword fights in cinema, I want to discuss the final duel in the snow between Leo and Jin. And how this duel in particular is a tangible counterbalance to that of Inigo Montaya and the Man in Black's duel from Rob Reiner's 1987 film “The Princess Bride” that I touched up on in my last post.

The duel between Inigo and the Man in Black is playful theatre littered with charm and respect. Leo and Jin's duel in comparison is saturated with betrayal, and laced with fury. These aren't two masters smiling across blades, they're brothers in arms undone by love and jealousy. It's a duel where friendship erodes, and respect curdles into rage and desperation.

To begin with, the scene is surrounded by serene woodland, giving us a stunning kaleidoscope of autumnal colours. Though the striking colour palette is soon enough stripped to stark contrasts by a white-out of thick snowfall. The transition of the weather during the battle mirrors the transformational dynamic of the fight, from measured dexterity to exhausted recklessness. Every swing and every blow is personal, and we feel the emotional weight behind them all. This duel would seemingly endure an eternity if their bodies allowed it.

This final struggle – two men locked in combat and grief – is particularly devastating because it rejects the clean narrative resolution of many cinematic duels. Nobody wins ...apart from us, because it's a juicy cherry on top of an already delicious visual experience.

The Princess Bride (1987) - Dir. Rob Reiner

I won't even begin to pretend I know anything about realistic or historical swordplay styles, but in the same vein, realism tends to take a back seat in a film made to entertain. Often enough, pointing out the accuracies or inaccuracies as long as they're not blatantly destroying the belief in the mise-en-scéne, can hinder the overall enjoyment.

With that said, the duel on top of the Cliffs of Insanity between Inigo Montoya and the Man in Black from Rob Reiner's 1987 film “The Princess Bride”, is one of my all time favourite sword fights in cinema. The movement and choreography, how they utilise and explore the space around them, the lack of rapid cuts or use of shaky camera techniques, and the playful banter and witty remarks between the two men all culminate into an authentically fluid, fun, and deeply engaging fight scene.

It's unapologetically theatrical, doesn't take itself too seriously, and is a welcome refreshing contrast to the more hyper-realistic gritty bouts that we see in modern fantasy films and series. This is storytelling through swashbuckling, each character revealing who they are through their swordplay and dialogue. Even the throwaway nods to actual real life 16th century fencing masters only add to the idea that these men deeply know their craft.

Inigo meets the Man in Black with an abundance of sportsmanship and respect, even so much as to let him catch his breath after the climb so that they can duel without any form of handicap. And that respect is reciprocated, the Man in Black allowing Inigo to safely retrieve his blade after being disarmed so that they may continue to spar. This is more a test of their skills than a fight to the death, and it makes for one hell of an enjoyable watch.