Apr 12
Every Frame a Painting delves on how Tsui Hark's 刀 (The Blade) paints outside the edges of the genre
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Every Frame a Painting delves on how Tsui Hark's 刀 (The Blade) paints outside the edges of the genre
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The Blade (1995) dir. Tsui Hark, cinematography by Kwok-Man Keung & Gam Sing
What a fucking nightmare of a movie. The futile assault on the bandit camp early in the movie is, along with the car chase in Friedkin’s To Live and Die In LA, one of the few sequences of cinematic violence I’ve ever seen I would apply that descriptor too in a literal sense; as in, actually evokes what being in the middle of a nightmare actually looks and feels like. For a film with such sensational hyperstylized violence it is not in the slightest bit sexy or arousing or otherwise attractive, it is punishing. If ever you doubt one can execute this level of bloodshed this stylishly without also glorifying it, here’s exhibit a to the contrary. A giant stone obelisk of sheer brute force gut-punch filmmaking, without winks or breaks or jokes (but not entirely without laughs, mind you), I’m astounded and endlessly thankful it exists and that I got to see it.
The Blade (1995) dir. Tsui Hark, cinematography by Kwok-Man Keung & Gam Sing