It's not quite as good as "A Touch of Zen," but "Dragon Inn" is a great film beloved by critics and fans alike. (At 111 minutes, it's also more accessible than "Zen," which is generally considered King Hu's masterpiece--but whose three-hour running time may seem daunting to the casual viewer.) Combining the legend and mythology of the Chinese swordfighter with a cinematic grandeur that could compete with anything being made in Europe or Japan at the time, its illustrious reputation is well-deserved.
Some martial arts movie fans have expressed disenchantment with the film's fight choreography, but one must bear in mind that "Dragon Inn" was made in 1967; it's hardly fair to judge it by the same standards as, say, a Jackie Chan flick. (Viewers expecting a martial confrontation every ten minutes probably *will* be disappointed, but they're missing the larger point. This is a film, not just a series of fight scenes strung together.) And the fact is that Han Ying-chieh's choreography is considerably more sophisticated--and more watchable--than the awkward clashes in "The One-Armed Swordsman," 1967's other major Chinese martial arts film. Han did an especially fine job of staging the final confrontation in a craggy mountain pass alternately shrouded in mist and flooded with dazzling sunlight. King Hu's careful selection of stunning outdoor locations and Hua Hui-ying's attentive cinematography also contributed significantly to the success of this scene.
Aficionados will note the film's long-term influence on Chinese martial arts cinema. From the obligatory white-haired villain (Pai Ying) to the young swordswoman (Shang-kuan Ling-feng) who disguises herself as a man, a number of the genre's conventions were established right here. Having said that, I think the critical adoration of King Hu at the expense of virtually every other Taiwanese director is unfortunate. Swordplay films like Joseph Kuo's "King of Kings" (see my IMDb review), Lin Fu-ti's "The Last Day of Hsianyang" (a remake of/variation on Akira Kurosawa's "The Hidden Fortress") and Pan Lei's "The Sword" (starring Wang Yu) are richly deserving of a critical reappraisal, as well.
Some martial arts movie fans have expressed disenchantment with the film's fight choreography, but one must bear in mind that "Dragon Inn" was made in 1967; it's hardly fair to judge it by the same standards as, say, a Jackie Chan flick. (Viewers expecting a martial confrontation every ten minutes probably *will* be disappointed, but they're missing the larger point. This is a film, not just a series of fight scenes strung together.) And the fact is that Han Ying-chieh's choreography is considerably more sophisticated--and more watchable--than the awkward clashes in "The One-Armed Swordsman," 1967's other major Chinese martial arts film. Han did an especially fine job of staging the final confrontation in a craggy mountain pass alternately shrouded in mist and flooded with dazzling sunlight. King Hu's careful selection of stunning outdoor locations and Hua Hui-ying's attentive cinematography also contributed significantly to the success of this scene.
Aficionados will note the film's long-term influence on Chinese martial arts cinema. From the obligatory white-haired villain (Pai Ying) to the young swordswoman (Shang-kuan Ling-feng) who disguises herself as a man, a number of the genre's conventions were established right here. Having said that, I think the critical adoration of King Hu at the expense of virtually every other Taiwanese director is unfortunate. Swordplay films like Joseph Kuo's "King of Kings" (see my IMDb review), Lin Fu-ti's "The Last Day of Hsianyang" (a remake of/variation on Akira Kurosawa's "The Hidden Fortress") and Pan Lei's "The Sword" (starring Wang Yu) are richly deserving of a critical reappraisal, as well.
