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Du Lu Wang (book)
Hui-Ling Wang (screenplay) ...
(more)
22 December 2000 (USA) more
Two warriors in pursuit of a stolen sword and a notorious fugitive are led to an impetuous, physically-skilled, teenage nobleman's daughter, who is at a crossroads in her life. full summary | add synopsis
Won 4 Oscars. Another 73 wins & 91 nominations more
Cannes Film Festival Names Competing Films
(From Studio Briefing - Film News. 23 April 2009, 2:39 AM, PDT)
Chow Yun-Fat To Play Confucius
(From WENN. 19 March 2009, 5:20 AM, PDT)
Magical Romance... more (1596 total)
| Yun-Fat Chow | ... | Master Li Mu Bai (as Chow Yun Fat) | |
| Michelle Yeoh | ... | Yu Shu Lien | |
| Ziyi Zhang | ... | Jen Yu (Mandarin version) / Jiao Long (English dubbed version) (as Zhang Ziyi) | |
| Chen Chang | ... | Lo 'Dark Cloud' / Luo Xiao Hu | |
| Sihung Lung | ... | Sir Te | |
| Pei-pei Cheng | ... | Jade Fox (as Cheng Pei-Pei) | |
| Fa Zeng Li | ... | Governor Yu | |
| Xian Gao | ... | Bo | |
| Yan Hai | ... | Madame Yu | |
| De Ming Wang | ... | Police Inspector Tsai / Prefect Cai Qiu | |
| Li Li | ... | May (as Li Li) | |
| Su Ying Huang | ... | Auntie Wu | |
| Jin Ting Zhang | ... | De Lu | |
| Rei Yang | ... | Maid | |
| Kai Li | ... | Gou Jun Pei | |
| Jian Hua Feng | ... | Gou Jun Sinung | |
| Zhen Xi Du | ... | Shop Owner | |
| Cheng Lin Xu | ... | Captain | |
| Feng Lin | ... | Captain | |
| Wen Sheng Wang | ... | Gangster A | |
| Dong Song | ... | Gangster B | |
| Zhong Xuan Ma | ... | Mi Biao | |
| Bao Cheng Li | ... | Fung Machete Chang | |
| Yong De Yang | ... | Monk Jing | |
| Shao Jun Zhang | ... | Male Performer | |
| Ning Ma | ... | Female Performer | |
| Jian Min Zhu | ... | Waiter | |
| Chang Cheng Don | ... | Homeless Man | |
| Yi Shih | ... | Waitress | |
| Bin Chen | ... | Servant | |
| Sao Chen Chang | ... | Nightman |
Directed by | |||
| Ang Lee | |||
Writing credits(WGA) | ||
| Du Lu Wang | (book) | |
| Hui-Ling Wang | (screenplay) and | |
| James Schamus | (screenplay) and | |
| Kuo Jung Tsai | (screenplay) | |
Produced by | |||
| Po Chu Chui | .... | associate producer | |
| Ping Dong | .... | co-producer | |
| Li-Kong Hsu | .... | producer (as Hsu Li Kong) | |
| William Kong | .... | producer (as Bill Kong) | |
| Ang Lee | .... | producer | |
| Philip Lee | .... | associate producer | |
| David Linde | .... | executive producer | |
| Er-Dong Liu | .... | line producer | |
| Kelly Miller | .... | production executive: Good Machine International | |
| James Schamus | .... | executive producer | |
| Wai Sum Shia | .... | line producer | |
| Quangang Zheng | .... | co-producer | |
Original Music by | |||
| Tan Dun | |||
Cinematography by | |||
| Peter Pau | |||
Film Editing by | |||
| Tim Squyres | |||
Production Design by | |||
| Timmy Yip | (as Tim Yip) | ||
Art Direction by | |||
| Jian-Quo Wang | |||
| Eddy Wong | (supervising art director) | ||
| Xing-Zhan Yang | (supervising art director) | ||
| Zhanjia Yang | (supervising art director) | ||
| Bin Zhao | |||
Costume Design by | |||
| Timmy Yip | (as Tim Yip) | ||
Makeup Department | |||
| Siu-Mui Chau | .... | hair stylist | |
| Liu-Jing Dong | .... | makeup artist | |
| Yong-Hao Fan | .... | makeup artist | |
| Jian-Ping Liu | .... | makeup artist | |
| Yun-Ling Man | .... | key makeup artist | |
| Yi-Gong Ren | .... | makeup artist | |
Art Department | |||
| Shu-Wing Fung | .... | supervising stand-by props | |
| Yan-Qing He | .... | assistant construction coordinator | |
| Yi Ho | .... | stand-by props | |
| Quan Jiang | .... | construction coordinator | |
| Da-Jiang Ji | .... | set props | |
| King-Fat Kung | .... | property master | |
| Bao-Tai Li | .... | stand-by props | |
| Ming-Shan Li | .... | stand-by props | |
| Wei-Zheng Li | .... | set props | |
| Yi Li | .... | assistant construction coordinator | |
| Chung-Wei Ng | .... | supervising stand-by props | |
| Sue-Chuen Sun | .... | set props | |
| Bing Thang | .... | set props | |
| Zhong-He Tian | .... | assistant construction coordinator | |
| Cei-Ming Tien | .... | set props | |
| Cheng-Sheng Wang | .... | set props | |
| He-Cen Wang | .... | assistant construction coordinator | |
| Song-So Wang | .... | stand-by props | |
| Jua-Feng Zhing | .... | set props | |
| Quin Zhing | .... | assistant construction coordinator | |
Sound Department | |||
| Gina Alfano | .... | adr editor | |
| Mark Betts | .... | technical supervisor: sound | |
| Chad Birmingham | .... | sound department intern | |
| David Boulton | .... | adr mixer | |
| Benjamin Cheah | .... | foley editor | |
| Marko A. Costanzo | .... | foley artist | |
| Robert Fernandez | .... | sound re-recording mixer | |
| Eugene Gearty | .... | supervising sound editor | |
| Lewis Goldstein | .... | dialogue editor | |
| Heather Gross | .... | apprentice sound editor | |
| Harry Higgins | .... | sound coordinator: Sound One Corporation | |
| Kenton Jakub | .... | supervising adr editor | |
| Drew Kunin | .... | production sound mixer (as Andrew Paul Kunin) | |
| George A. Lara | .... | foley recordist | |
| Terrance Laudermilch | .... | sound coordinator: Sound One Corporation (as Terry Laudermilch) | |
| George Leong | .... | boom operator (as George Huey Leong) | |
| Lisa J. Levine | .... | adr editor (as Lisa Levine) | |
| Hal Levinsohn | .... | adr editor | |
| Blake Leyh | .... | sound effects editor | |
| Xiao Xing Lu | .... | assistant sound engineer | |
| Igor Nikolic | .... | assistant sound editor | |
| Jennifer Ralston | .... | sound effects editor | |
| Jennifer Ralston | .... | supervising foley editor | |
| Alex Soco | .... | apprentice sound editor | |
| Reilly Steele | .... | sound re-recording mixer | |
| Betty P. Teng | .... | assistant sound editor | |
| Jean Tsien | .... | adr supervisor | |
| Paul Urmson | .... | dialogue editor | |
| Cuo Qing Xu | .... | assistant sound engineer | |
| Geo Ying | .... | sound assistant | |
| James Ziegler | .... | sound consultant | |
| Alex Raspa | .... | adr recordist (uncredited) | |
| Betty P. Teng | .... | adr editor (uncredited) | |
Visual Effects by | |||
| Patrick Ballin | .... | visual effects editor | |
| Travis Baumann | .... | digital supervisor: Manex LA | |
| Jenny Behnke | .... | digital artist (as Jennifer Behnke) | |
| John Cassella | .... | digital artist (as John Cassella Jr.) | |
| Robert Chapin | .... | digital artist | |
| Charles Darby | .... | digital matte supervisor: Digital Firepower | |
| John 'D.J.' Des Jardin | .... | 3D supervisor | |
| Bill Dietrich | .... | digital artist | |
| Michael Feder | .... | visual effects executive producer: Blue Sky Studios | |
| Donald Fly | .... | general manager | |
| Gilbert Gonzales | .... | paint/roto artist | |
| Nicolle Gray | .... | technical assistant | |
| Rob Hodgson | .... | visual effects supervisor | |
| Kim Lavery | .... | visual effects producer | |
| David Lee | .... | technical assistant (as Dave Lee) | |
| Mary Leitz | .... | digital compositor | |
| Mark Leo Perry | .... | digital artist | |
| Anthony Mabin | .... | senior digital effects compositor: Manex Visual FX (as Anthony 'antman' Mabin) | |
| Matt Magnolia | .... | visual effects coordinator: MVFX | |
| Rod Park | .... | bidding producer | |
| Devorah Petty | .... | digital artist | |
| Sheldon Ramones | .... | technical assistant | |
| John E. Sasaki | .... | digital compositor | |
| Mark Shoaf | .... | digital artist | |
| John Siczewicz | .... | senior digital artist: Blue Sky Studios | |
| Jonathan F. Styrlund | .... | visual effects producer | |
| Daniel Sunwoo | .... | digital artist | |
| Sean White | .... | runner | |
| Eric Wilson | .... | visual effects producer: Blue Sky Studios | |
| Jamie Baxter | .... | digital artist (uncredited) | |
Stunts | |||
| Fong-Tei Chen | .... | martial arts stunts | |
| Hu Chen | .... | martial arts stunts | |
| Tiger Hu Chen | .... | stunts | |
| Su-Weh Chin | .... | martial arts stunts | |
| Wei-Lun Fung | .... | martial arts stunts | |
| Xian Gao | .... | martial arts trainer | |
| Yun Liang Geo | .... | martial arts stunts | |
| Cuan-Liang Ho | .... | martial arts stunts | |
| Chuen-Ze Jin | .... | martial arts stunts | |
| Zheng Jin | .... | martial arts stunts | |
| Zhan-Wen Keu | .... | martial arts stunts | |
| Chi-Tei Lam | .... | martial arts stunts | |
| Feng-Mei Le | .... | martial arts stunts | |
| Feng Lin | .... | martial arts stunts | |
| Hong-Lin Liu | .... | martial arts stunts | |
| Jun Ning | .... | martial arts stunts | |
| Wai-Fai Wong | .... | martial arts stunts | |
Camera and Electrical Department | |||
| Feng-Xiang Bao | .... | set camera grip: second unit | |
| Te Ba | .... | set lighting grip: second unit | |
| Gei-Ming Cao | .... | set lighting grip | |
| Kam-Chuen Chan | .... | still photographer | |
| Sung Fai Choi | .... | camera operator: second unit | |
| Jin-Chu Du | .... | set lighting grip | |
| Jimmy Fok | .... | crane operator | |
| Yun Gao | .... | set lighting grip: second unit | |
| Tao Hai | .... | set camera grip: second unit | |
| Si Ha | .... | set lighting grip: second unit | |
| Hai Hong | .... | set lighting grip: second unit | |
| Patrick Ho | .... | clapper loader | |
| Li-Jun Jia | .... | set lighting grip | |
| Yu-Cuo Jiang | .... | set camera grip | |
| Louis Jong | .... | key grip | |
| Jimmy Kwok | .... | focus puller: second unit | |
| Chun-Shing Lam | .... | electrician | |
| Chun-Wan Lam | .... | gaffer: second unit | |
| Kenny Lam | .... | first focus puller | |
| Kerry Lam | .... | first focus puller | |
| Wai-Kwan Lau | .... | clapper loader: second unit | |
| Wing-Teng Law | .... | electrician: second unit | |
| Tak-Shing Lee | .... | first gaffer | |
| Wing-Kong Leung | .... | camera loader | |
| Baoquan Li | .... | Steadicam operator: second unit | |
| Jie Li | .... | set lighting grip | |
| Ming Hing Ng | .... | electrician | |
| Fi-Hong Pun | .... | electrician | |
| Zhan-Biao Shan | .... | set camera grip | |
| Dong-Shan Shi | .... | set camera grip | |
| Ching-Chuen Shuan | .... | best boy electric | |
| Marc Spicer | .... | underwater photographer: second unit | |
| Lin-Chen Sun | .... | set camera grip | |
| Pin Tang | .... | video operator: second unit | |
| Hai-Zhi Wang | .... | video operator | |
| Shu-Jun Wang | .... | set lighting grip | |
| Yuen-Me Xuen | .... | set camera grip | |
| Hai-Dong Zhang | .... | set camera grip | |
| Long Zhang | .... | set lighting grip | |
| Jia-Lieng Zhing | .... | set camera grip | |
Costume and Wardrobe Department | |||
| Wu-Tong Cao | .... | assistant costumer | |
| Jun Chai | .... | costumer | |
| Jin-Hua Gu | .... | costumer | |
| Shu-Chen Hsu | .... | chief costume supervisor | |
| Bao-Rong Huang | .... | wardrobe master | |
| Wang Rong | .... | costumer | |
| Zhi-Bin Zhao | .... | costumer | |
| Yu-Juan Zheng | .... | assistant costumer | |
Editorial Department | |||
| Pankaj Bajpal | .... | colorist | |
| Angela Bellisio | .... | post-production assistant | |
| Andrew Buckland | .... | assistant editor (as Drew Buchland) | |
| Fred Heid | .... | color timer | |
| Shelby Siegel | .... | second assistant editor | |
| Tim Streeto | .... | first assistant editor | |
| Patricia Sztaba | .... | negative cutter | |
| Stan Sztaba | .... | negative cutter | |
| Jeremy Cohen | .... | post-production assistant (uncredited) | |
Music Department | |||
| Jorge Calandrelli | .... | composer: song "A Love Before Time" | |
| Jorge Calandrelli | .... | music producer: "A Love Before Time" | |
| Xie-Yang Chen | .... | conductor | |
| Elaine Chow | .... | translator: lyrics "A Love Before Time" | |
| David Cossin | .... | musician: percussion | |
| Tan Dun | .... | conductor | |
| Tan Dun | .... | electronic music programming | |
| Tan Dun | .... | music producer | |
| Steven Epstein | .... | music producer | |
| Richard King | .... | music mixer | |
| Xiao-Hui Ma | .... | musician | |
| Yo-Yo Ma | .... | musician: cello solos | |
| Wen-Zhao Pei | .... | music producer | |
| Jun-Ciao Tang | .... | musician | |
| Emmy Tu | .... | music producer | |
| Lin-Chen Yuan | .... | electronic music programming | |
Thanks | |||
| Philip Stockton | .... | special thanks | |
Crouching Tiger, Hidden Dragon (International: English title) (UK) (USA)
Ngo foo chong lung (Hong Kong: Cantonese title)
Wo hu cang long (China: Mandarin title)
more
Rated PG-13 for martial arts violence and some sexuality.
120 min
Color (Technicolor)
2.35 : 1 more
Iceland:12 | Malaysia:U | Portugal:M/12 | Netherlands:16 (VHS/DVD rating) | Brazil:12 | Argentina:Atp | Australia:M | Belgium:KT | Canada:14A (British Columbia) | Canada:G (Quebec) | Canada:PG (Alberta/Manitoba/Nova Scotia/Ontario) | Chile:TE | Denmark:11 | Finland:K-11 | France:U | Germany:12 | Hong Kong:IIB | Ireland:15 | Netherlands:12 | New Zealand:M | Norway:15 | Peru:PT | Singapore:NC-16 | Singapore:PG (cut) | South Korea:12 | Spain:7 | Sweden:11 | Switzerland:10 (canton of Geneva) | Switzerland:10 (canton of Vaud) | UK:12 | USA:PG-13
"Crouching tiger hidden dragon" is a quote from Chinese mythology. It refers to hiding your strength from others; advice which is followed too well by the characters in the film. more
Continuity: During the fight atop the bamboo trees, the sky is sometimes entirely blue and other times entirely covered in clouds. more
[first lines]
Man:
Master Li is here! Master Li is here!
more
Referenced in "Psych: Dis-Lodged (#2.14)" (2008) more
Caravan Bells on the Silk Road more
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| The Forbidden Kingdom | Batman Begins | Shi mian mai fu | Ying xiong | Chik yeung tin si |
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There's a telling moment near the beginning of Ang Lee's "Crouching Tiger, Hidden Dragon."
In closeup, we see the rough-hewn, heavy wooden wheels of a peasant cart. They nestle in deep ruts worn into the stone paving blocks of a roadway entering a gated city. The cart rumbles on, its wheels fitting perfectly into the grooves worn by unspoken centuries of just such passing wagons...in one image we see how tradition creates its own paths, how contemporary reality is fabricated to fit such traditions... The camera rises, we see an almost impossible panorama of Peking, the Forbidden City spreading out before us like an Oz extending to the horizon.
What a film this is: a superb action adventure romance with terrific acting and a much-welcome heart underlying the technical superiority.
"Crouching Tiger...", I am told, is representative of a specific literary/cinematic genre in China: Wu Xia...the wizard/warrior piece...magic and martial arts blended. I'm not familiar with the form, but the world portrayed here is a breathtakingly fantastical one. The story is putatively set in 19th century China, but it could be anywhere, anywhen. It is a place of high honor and deep feelings, a place where people are bound by traditions and held captive by their forms. It is also a place of wild and mythic landscapes...from stark desert (thought nowhere do we get that featureless, wide-screen linear horizon seen in David Lean's "Lawrence of Arabia!") to magic misty green mountains with deep dark lakes and steeply cascading streams that come braiding, tumbling down the rockslide heights. High, reedy bamboo forests wave, wondrous, in sighing winds.
In this world people may do amazing things. The flying in this movie -- properly called "wire work" in film terms -- is fantastic. This technique, of course, was not invented by the Wachowski's, but the choreographer of "Crouching Tiger...", Woo-ping Yuen, also staged the wire-fights of "Matrix." Here, the ability of our warrior heros and villains to climb walls, to leap to the rooftops and soar from building to building -- not to mention engaging each other in aerial combat that soars from the peak of a mountain top to the rocks of a mountain stream in a single take -- or to duel on the very tips of dipping, waving bamboo trees -- looks almost plausible, just over the border of the possible, at least. The whole packed-in audience at the big theater at the advanced screening at Pipers Alley in Chicago burst into spontaneous applause several times throughout...
At other moments, I found myself in weepy transport. As I think of the fight in the treetops, right now, I become drippy -- tingly of eye and sinus.
Apart from all else, this is grand storytelling! It has passion, love, revenge...it expresses deep need and longing.
And, yes, the woman are the action hearts of the film! Michelle Yeoh is wonderful...but I've been in love with her for years. Here, she is more mature, quieter, wiser than in any role I've seen her in. Her performance is strong and moving, her face registering, magically, a range of conflicting emotions, hidden secrets, crouching angers, all at once. In acting training we were always told you can't do that. She does it.
Chow Yun Fat, too...I've been a fan of his since I first discovered John Woo's Hong Kong crime thrillers...is the best I've ever seen, as well...magnificent in his silences. Strength without cruelty.
The center of the film is a girl who looks to be about 15! Ziyi Zhang whose date of birth is given as 1979. Zhang is from Beijing, China, and has only one other film credit. She is remarkable. Her story is the film's binding element. And this newcomer holds it together! Holding her own with Yeoh and Chow in both dramatic material and in the balletic martial pas des dieux's that frame the conflicts between characters. She is the "Luke Skywalker" of the piece, if you will...though "Crouching Tiger..." has everything the "Star Wars" saga aspires to: excitement, thrills and magic. Here however, technical fireworks are wrapped heart and deeply resonant spirit. Elements Lukasfilm wanted to have, but which it succeeded in providing only in the most self-conscious way.
By the way: this is an action film, almost uniquely without violence...or, rather, the violence is so stylized, so removed into some mystical realm, that it almost disappears into dance. There is, I believe, only one small splash of blood on-screen. Typically, I don't like that -- figuring that if you're going to do a film where violence is part of it all, where action advances plot, let's have it full-bore, the "Full Peckinpaw," if you will. Here, however, this stylization works beautifully with action sequences that take the breath away and inspire a sense of awe, rather than simply leave you white-knuckled and sweaty.
There are those who will grumble that Jackie Chan (another favorite of mine) does it all for real, without wires and tricks. True enough... But here that exuberance of motion is in service of a grand story and strong characters who carry worthwhile emotional burdens!
I won't be able to wait for the DVD, and will probably see it again, perhaps see it twice before it hits the home-market.
My recommendation: Just go see it.