《繡春刀》

Xiù Chūndāo

Director

Lu Yang

Writers

Chen Shu, Lu Yang

Brotherhood of Blades

《繡春刀》

Xiù Chūndāo

Director

Lu Yang

Writers

Chen Shu, Lu Yang

繡春刀

Martial arts are, by nature, a fantastic sport in both the reality and imagination of the public—the aspiration to kick higher, faster, and stronger matched by stories and imagery of an ancient China where chi blasts demolish entire temples and wandering warriors fl y across the sky in acts of derring-do with the fl ick of a fi nger. While the martial arts have always played a central role in Chinese society as entertainment, they also exist as cautionary tales of an ever-changing world in which shifting alliances and tides of fate can turn a heroic warrior into a villain.

Brotherhood of Blades is a surprisingly refreshing modern take on a tragic sword opera that resonates with echoes of the Three Musketeers. Shot more like a steam punk overture than an over-the-top Hong Kong kick-fl ick, Brotherhood contains fewer of the eye-rolling elements of caricature that make some modern Chinesemainstream kung fu fi lms harder to endure. Director Lu Yang shoots characters who are rather well-developed, making Brotherhood an interesting bridge between the steely and sometimes soporifi c screenplays by Zhang Yimou, the operatic caricatures of King Hu, and the early Shaw brothers.

Set in the late Ming Dynasty (1368– 1644), Brotherhood is led by veteran actors Chang Chen as Shen Lian, Li Dongxue as Jin Yichuan, and Wang Qianyuan as Lu Jianxing—three assassins of the Imperial court who are ordered to put down members of an alleged conspiratorial plot.

CHANG CHEN (張震)

Born in 1976 in Taiwan, Chen Chang started his career at the age of 15 in A Brighter Summer Day （《牯嶺街少年殺人事件》）, a classic Taiwanese film dealing with juvenile crime and won Best Actor at the Golden Horse Awards. He also starred in Crouching Tiger, Hidden Dragon （《臥虎藏龍》）, and was awarded Best Actor in a Foreign Language Film from the Osaka Asian Film Festival for starring in The Go Master （《吳清源》）.

Shen: There is no way we can get this

done on our own.

Nǐ xiǎng píng zánmen sān gè rén jiù bǎ zhè shì bàn le ma?

Jin Yichuan, Liu Jianxing, and Shen Lian ride through a crowded town on their epic quest

你想憑咱們?nèi)齻€人就把這事辦了嗎？

Lu: With us three getting the mission, a lot of people in the government are getting jealous, and Zhang Ying is not happy either. He may have placed moles among our men. If he sabotages our mission, even our lives will be jeopardized.

Zhè chāishi lào zài zánmen xiōngdi shēnshang, yámen lǐ yǐjīng yǒu hěnduō rén yǎnhóng, Bǎihù Dàrén yě bù gāoxìng, nánbǎo zánmen de rén méiyǒu tā de zhuāngzi, yàoshi huài le zánmen de shì, kǒngpà huíqù lián mìng dōu

bǎo bú zhù le.

這差事落在咱們兄弟身上，衙門里已經(jīng)有很多人眼紅，百戶大人也不高興，難保咱們的人沒有他的樁子，要是壞了咱們的事，恐怕回去連命都保不住了。

Shen: Are you concerned that we are not getting credit for this one? Nǐ búshì pà gōngláo bèi biérén gěi qiǎng le ba?

你不是怕功勞被別人給搶了吧？

Lu: Brother, aren’t you fed up with this life? We have no money or connections, and all we need is an opportunity, an opportunity for us to get on top. Xiōngdi, zhè wōnang rìzi nǐ hái méi guò gòu ma? Zán méi yínzi méi lù, kào de jiùshì jīhuì, jīhuì lái le jiē zhù le, jiùnéng fānshēn.

兄弟，這窩囊日子你還沒過夠嗎？咱沒銀子沒路，靠的就是機(jī)會，機(jī)會來了接住了，就能翻身。

As they continue to hunt down these enemies of the state, the three friends begin to realize the fi ctitious nature of the enemy they seek and furthermore the equally nefarious plot to usurp power in which they are ensnared.

Playing Zhang You, Yi Qing pines for Jin Yichuan, played by Li Dongxue

In one respect, Brotherhood makes the same overture that wuxia movies have made time and again: each protagonist’s undoing comes from an overabundance of virtue. The protagonists of wuxia novels (and later movies) often shared a similar set of ideals that typify the ideal Confucian gentleman: altruism, justice, and disregard for riches, among other values that characterize an ideal man. Generally speaking, these standards of conduct were considered unachievable and the wandering warriors of wuxia novels often embodied these values subjectively to a fault. For example, one warrior’s sense of justice might be twisted by the murder of his master in such a way that his desire for revenge would surpass all other traits. While they’re honest and good people, each assassin’s past contains a dark secret that ultimately becomes his downfall: a woman, a stolen identity and a pile of ill-gotten money. Their inability to deviate from their sworn adherence to honesty and chivalry, or the mistakes of their past becomes their undoing. In the face of unscrupulously Machiavellian politicians, often who are willing to kill their own kin in order to usurp power and fame, their skills in combat and their virtue becomes their undoing.

Wei: If we make a deal, I’ll tell you where the money is, and you can tell your boss the mission is over. Make up your mind quickly, otherwise your two friends won’t last long.

Zuò le zhè bǐ mǎimai, wǒ jiù gàosu nǐ qián zài nǎr, nǐ ná huíqù jiù kěyǐ jiāochāi. Kuài ná ge zhǔyi, wǎn le, nǐ nà liǎ xiōngdi kě jiù bǎo bú zhù le.

做了這筆買賣，我就告訴你錢在哪兒，你拿回去就可以交差?？炷脗€主意，晚了，你那倆兄弟可就保不住了。

[Another assassin jumps at Wei, and Shen pins him to the floor]

Shen: Who sent you? Shéi pài nǐ lái de?

誰派你來的？

Wei: He is nothing but a pawn, just like you. Tā zhǐshì ge qízǐ, gēn nǐ yíyàng.

他只是個棋子，跟你一樣。

While the characters’ back stories are entertaining (though somewhat enervated by overly-conventional development of their roles by gender, particularly around women) the most unconventional aspect of Brotherhood is the concealed political intrigue that draws the protagonists ultimately towards their untimely demise. Fate remains a central theme of Chinese wuxia novels; the brawlers of jianghu, the fi ctional world of wuxia novels, are often drawn in different directions by these mysterious forces of destiny. Central to that theme is a warrior’s acceptance of their fate; their destiny determines whether their virtuosity is helpful or harmful to them in the end. In Brotherhood, the cutthroat political tension of aristocratic politics fi lls in for destiny; Ni Yuan plays Zhao Jingzhong, a Ming Dynasty noble who seeks to eliminate loyal courtesans to his father by labeling them for disembowelment as followers of a fi ctitious subversive organization; all done in order to usurp power for himself, through his position as the head of the royal police. In this sense, Brotherhood is a strangely dystopian vision of Ming dynasty internal politics that’s almost satirically relevant to the modern condition. Zhao seeks to use the three brothers as blunt force instruments to do his evil bidding, ultimately pinning the crime on them. Though they uncover the betrayal to happen, in the end, each of the three brothers in arms succumbs to the conspiratorial maneuvers of the elites, each for blindly adhering to the rules of their virtue—chivalry, honor, and justice.

It’s an entertaining fi lm—there’s plenty of wince-inducing limb-severing and blood, melodrama, and plenty of puppy love. It’s a highly enjoyable tragedy, with three pretty protagonists albeit strong actors. The most unbearable parts of the fi lm consist of the meager portrayal by headliner Liu Shishi who plays Zhou Miaotong, a high-end whore of the royal court, who whispers her way across the screen in a headache-inducing monotone more fi t for a deathbed portrayal than a sexy lady of the night.

Entertainment value aside, Brotherhood of Blades actually comes forward rather honestly about what it brings to the table: it’s a tragedy with fl ying swords, stalwart heroes, damsels in distress and a strong cast, to boot.– TERENCE HSIEH (謝燕輝)