Reviews

This adaptation of the novel is a really interesting movie - in ways, I feel like it's so unique that it makes it difficult to judge how "good" the film really is. There are a lot of colorful, unusual and even rather creepy special effects, including animation of several kinds.

The quality of the acting is also difficult to gauge because the interactions between characters are already supposed to be so far removed from the kinds of things that people in your life most likely say and do. Max von Sydow's performance was very different from how the character of Harry Haller existed in my head before seeing the movie: I had read the book first and couldn't quite see Harry as being so silly-looking or laughable throughout the whole story. Dominique Sanda did convey an appropriate mystique as Hermine, and has a really interesting speaking voice. A very nationally and sexually ambiguous guy named Pierre Clementi seemed to have a lot of fun with his crazy take on Pablo. Hilarious! The music and the whole sound concept of the movie were also.. can anyone think of another word for "unique"? But in this case, I also thought they were excellently conceived.

Part of me found that the movie's endearing irregularities were a great way to reflect the absurdity and awkwardness that are felt by the main character, but another part was not entirely convinced. So, I give the movie a 7/10 after some deliberation, partly out of the respect I have for works of true originality, of which this is certainly one.

Hong Kong kung fu cinema is a complicated genre to navigate for the uninitiated. People's opinions differ so wildly from movie to movie that what you consider a gem may be a relatively obscure movie. In other words, everyone has their own favorite kung fu movie, whether it's Crouching Tiger, the 36th Chamber, 5 Fingers of Death, or - in my case - this one.

I just watched this movie for the second time, and I'm even more impressed. There's something about its energy that's just completely unflagging, ferocious. The meaning and the lethal glare with which Chin Siu-ho (criminally under-billed: what a performance!) lowers his hands after performing the Buddhist Palm on his superior. The impossible fight in the temple; the legions of talented extras! The endearing innocence which Jet Li brings to his character, and the fluidity of his "Taoist boxing", real or assisted (remember when he acted like the punching bag, swinging around and knocking his weight into his opponent as if he had concentrated all his weight in his feet?) The picture and sound are much lower quality than other Yuen Woo-ping movies within a year's radius (Iron Monkey, Wing Chun), but it's difficult to notice such superficial markers of quality when the pacing, emotional power and action of the movie so surpass the era's other offerings.

Another of the movie's fine points is the natural flow of its few comic sections. I often find the comic relief in "serious" kung fu movies to be stilted and awkward. Slapstick can be done ingeniously (Stephen Chow movies), but when it's stuck randomly in a movie that otherwise portrays itself as serious, it can be disastrous. The humor in the Tai Chi Master is applied with a light touch, so you can laugh instead of frowning and looking uncomfortable.

But what really separates the Tai Chi Master from other excellent kung fu movies with direction and energy is its firm moral compass. When was the last time you saw a movie that knew right from wrong, but didn't make a big deal out of it? Note the distinction between right/wrong and good/evil: If Hollywood made this movie, it would be a movie about good and evil. Instead, we know that Tianbao was not intrinsically evil - he was just "wrong" ("We were wrong, Master!") A movie has little to do with real life if its characters are one-dimensional incarnations of the primeval forces of good and evil. Yet in spite of all this, the Tai Chi Master is not a heavy-handed movie "about" right and wrong - it just contains the answers.

"My hands do not have strength and power. My heart embraces peace and calm. Resigning myself to adversity. Seeing richness out of the void. Violence be turned to peace. There are always guiding fate. Dynamic or still. Divide or multiple. Follow fate to go in and out of mortal world." The theme song is poorly translated in the subtitles, as it should be. What is verbalized knowledge but something vague and suggestive of personal revelation? In the words of a character: "I've studied Taoism all my life, but you realize its truth all in a blink. You'll be the master of masters. I should probably retire."