10TH OLD SCHOOL KUNG FU FEST: SWORD FIGHTING HEROES EDITION REVIEW!
In eighth-century China, as the political landscape begins to crumble and questions arise about the character of the country’s leaders, an assassin, Nie Yinniang (Shu Qi), is given a dangerous mission in which many lives will be at stake. She must kill a political leader–a mission that will surely alter the landscape of the country as a whole, but has personal meaning as well. The Assassin follows Yinniang as she contemplates the consequences of her mission.
I would have greatly benefitted from a stronger knowledge of Asian film and the customs of which are practiced throughout the history of their cinematic ventures. With the exception of films like Seven Samurai and Crouching Tiger, Hidden Dragon, that part of the world has eluded me in terms of film, and while filmmaking is filmmaking for all intents and purposes–having little knowledge in this realm likely hindered my ability to appreciate many of the nuances strewn throughout The Assassin.
With what knowledge I do have, however, it appears that Writer-Director Hsiao-Hsien Hou does a brilliant job of keeping with the expectations of films of this nature. Slow, intense, and deliberate. These three things can be used to describe the film in its entirety, and while I don’t necessarily know much about Asian cinema, I know that this feels like it’s part of it. Combined, The Assassin is crisp and calculated, allowing every moment of it to play out incredibly well.
I’m not sure that one person can be said to be the most important in The Assassin. While every film is a collective effort, incapable of coming to life without the hard work of many, The Assassin sees this quasi-ensemble cast play together so well; but as individuals they shine just as brightly. Everyone appears to fit the bill, each and every actor able to remain intense and effective throughout. In a film that is driven by the potential for murder, I believe that intensity is the only way to accurately convey these characters. I’m not sure that any balance, that any attempt to develop anything akin to comedy or lightheartedness would have benefitted the film, only stolen from the narrative and the effectiveness of The Assassin as a whole. Hou’s decision to remain on a very linear path in terms of the tone benefits the film greatly and constantly allows viewers the ability to understand the intention behind each moment.
While the tone is linear and easy to follow, the narrative is a bit convoluted. With so many moving pieces, so many coincidences strewn throughout The Assassin, it not only makes the film challenging to follow from time to time, but it also dilutes its meaning. In the process of trying to understand the story, one that revolves heavily around Nie, some things are lost in translation. As I’m trying to read subtitles, understand character connections, and make sense of the sometimes winding narrative, things begin to step on other’s toes. In reality this is the only true issue with The Assassin, as everything else is well developed and the intensity remains beautifully prominent throughout.
Once again, my knowledge of Asian cinema isn’t vast; it’s actually quite small. Would a stronger knowledge of this corner of cinema have benefitted my viewing of The Assassin? I truly believe that it would have–but it doesn’t steal from my experience. What Hou creates will certainly be able to transcend audiences, regardless of their prior knowledge; and he develops a film that plays with the emotions and frequently mirrors the intensity of the real world. The Assassin is physically gorgeous and the actors bring a vigor to this project that lasts throughout its entirety. The Assassin is a wonderful film that has the potential to reach many different viewers, and entertain for years to come.
Directed by Hsiao-Hsien Hou.
Written by Cheng Ah, T’ien-wen Chu, & Hsiao-Hsien Hou.
Starring Chang Chen, Shu Qi, Zhou Yun, Tsumabuki Safoshi, Ni DaHong, etc.
⭐⭐⭐⭐⭐⭐⭐⭐/10
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