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A Touch of Zen (1971)
"Xia nü" (original title)

7.6
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Ratings: 7.6/10 from 2,469 users  
Reviews: 27 user | 21 critic

A lady fugitive on the run from corrupt government officials is joined in her endeavors by an unambitious painter and skilled Buddhist monks.

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, (story) (as Sung-ling Pu)
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Title: A Touch of Zen (1971)

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Cast

Credited cast:
Feng Hsu ...
Yang Hui-ching
Chun Shih ...
Ku Shen Chai
Ying Bai ...
General Shih Wen-chiao
Rest of cast listed alphabetically:
Billy Chan
Ming-Wai Chan
Ping-Yu Chang
Yi Kuei Chang
Yun Wen Chang
Shih Wei Chen
Roy Chiao ...
Hui Yuan
Ying-Chieh Han ...
Hsu
Li Jen Ho
Chung Mou Hsieh
Han Hsieh ...
Dr. Lu Meng
Hsing Chun Hsu
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Storyline

An artist, Ku, lives with his mother near an abandoned fort, reputed to be haunted. One night, investigating strange noises, he meets the beautiful Yang who is living there. She is being pursued by agents of an Imperial noble who have murdered her family. Ku finds himself caught up in her struggle to survive, and many fierce battles take place before all is resolved. Action adventure with a lyrical feel, this is a kung fu film with a strong spiritual element. Written by Richard Hills <R.Hills@wlv.ac.uk>

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Genres:

Adventure

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Release Date:

18 November 1971 (Hong Kong)  »

Also Known As:

A Touch of Zen  »

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Color:

(Eastmancolor)

Aspect Ratio:

2.35 : 1
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Trivia

Due to it's length, A Touch of Zen was originally exhibited commercially in 2 parts. See more »

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Featured in Films of Fury: The Kung Fu Movie Movie (2011) See more »

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User Reviews

Mood-driven journey to spiritual enlightenment
17 July 2005 | by (USA) – See all my reviews

To think that I used to accuse King Hu of doing injustice to the wuxia genre with boring storytelling and slow action, I must have been on crack at the time--as his best works completely transcend elements of conventional film-making. In A TOUCH OF ZEN, It's not the story or the action that stands out; although they are part of the system, they are secondary to the theme of spiritual enlightenment, which is what counts in Buddhist philosophy. When the abbot confronts the East Chamber agent, the art of combat is strictly utilized by the abbot to guide the agent to "put down his sword, and attain peace with Buddha." There is a haunting sight when the bookworm scholar is amused by his tactic which fooled the agents. He thinks he has reached the peak of perfection, but then he sees dead bodies lying around who have suffered from his tactic, and the only thing on his mind is a woman whom he lusts. As book-smart as he is, he still suffers from worldly affair like everyone else. Only at the end when he accepts Buddha is he able to live in peace.

Aside from the philosophical points, ZEN also scores strongly in establishing mood, suspense, and fascinating visuals. The Jiang Hu in this film feels incredibly authentic, and the rich mise-en-scene is refreshing compared to the limited Shaw Bros studio offerings. I loved the photography throughout; it beautifully captures the spiritual wonder of ancient Orient. In framing still shots, King Hu chiefly employs medium and medium close-ups, mounting his camera at an upward angle so we can always see beyond the characters, perhaps to suggest existence of higher wisdom.

One observation I would like to propose is that although ZEN is probably a milestone in Chinese cinema, it would be a minor masterpiece compared to the best works from 60s Japan. The lush photography and haunting images from KWAIDAN come to mind as a comparison. No doubt, King Hu also learned a few tricks from the likes of Kurosawa, such as pointing his camera at the sun which occurs frequently in ZEN.

[9/10]


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