Yang, the world's finest swordsman, packs it in and leaves Japan to find an old friend in the Wild West rather than kill the infant queen of a rival clan. He carries the baby to his friend's desolate, broken-down town; the friend has died, so Yang reopens a laundry and settles down, hanging wet clothes, growing flowers, raising the infant, and finding himself attracted to Lynne, a red-haired woman with a tragic past. As long as Yang keeps his sword sheathed, his rivals won't find him, but a band of reprobate gunmen terrorize the town and threaten Lynne. Showdowns are inevitable, but once the sword is drawn, can Yang find rest, a home, and a family? Written by
Scott Reynolds did some re-writing on the script, mostly concentrated on some action sequences and a lot of the dialogue for the actors. Reynolds was especially proud of some of the evil lines he wrote for The Colonel (Danny Huston). See more »
Ronald and another man are at the old ferris wheel during the big battle against the Colonel and his men. Ronald loads a bullet into his rifle with his bare finger. In the next shot, he is firing the gun while wearing black gloves that are completely intact. See more »
Okay, you settled down? You got your ears open?
This is the story of the sad flute, a laughing baby, a weeping sword. A long long time ago, in a land far far away, there lived a warrior. A warrior with empty eyes.
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This is a superb work of art from the moment it starts to the moment it finishes. It is stylish, theatrical when the dramatic content demands it, beautifully shot, wonderfully acted, terrific story telling, great action pieces, and, most importantly, entertaining.
The plot is simple. The world's most wonderful swordsman - ever - is lonely, bored, tired of his existence when he meets his last remaining enemy a young baby. He has been disciplined strictly to always kill the enemy because if you do not the enemy will kill you. The story moves smoothly and surefootedly along from there in a way that only the best stories move, and I'll not spoil the treat from there.
Some people may resist films about martial arts and swordplay but there is much more to this story than the fights. Indeed the human element is one of the films strongest suites. And, because the settings and cinematography are so brilliant, you are treated to a cartoon like outline to emphasise every little detail you are watching.
Films like this are few and far between on circuits in the west because story telling is so formulaic instead of innovating, invigorating, and involving. The humour, for example, is not silly punchlines it is visual treatment of things we all experience done with a caress of a brush and delicate hands.
I know not why but the East Asian cinema seems much better able to express good and bad in a fluid way, so that although we may know who is good and bad both sides have strengths and weaknesses just as in real life. It makes for gripping tension as you try to work out what will happen next, or, as I now tend to do, just sit back and enjoy the sumptuous presentation you know you are going to get.
Brilliant work all round and my congratulations to all concerned. This will now be one of my all time favourites. Thanks guys.
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