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Crouching Tiger, Hidden Dragon (2000)

Wo hu cang long (original title)
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A young Chinese warrior steals a sword from a famed swordsman and then escapes into a world of romantic adventure with a mysterious man in the frontier of the nation.

Director:

Ang Lee

Writers:

Du Lu Wang (book), Hui-Ling Wang (screenplay) | 2 more credits »
Popularity
1,435 ( 456)

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Won 4 Oscars. Another 96 wins & 130 nominations. See more awards »

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Cast

Cast overview, first billed only:
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 Sihung Lung ... Sir Te
Pei-Pei Cheng ... Jade Fox (as Cheng Pei-Pei)
Fa Zeng Li Fa Zeng Li ... Governor Yu
Xian Gao Xian Gao ... Bo
Yan Hai Yan Hai ... Madame Yu
De Ming Wang De Ming Wang ... Police Inspector Tsai / Prefect Cai Qiu
Li Li ... May (as Li Li)
Su Ying Huang ... Auntie Wu
Jin Ting Zhang Jin Ting Zhang ... De Lu
Rui Yang Rui Yang ... Maid
Kai Li Kai Li ... Gou Jun Pei
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Storyline

In 19th century Qing Dynasty China, a warrior gives his sword, Green Destiny, to his friend to deliver to safe keeping, but it is stolen, and the chase is on to find it. The search leads to the House of Yu where the story takes on a whole different level. Written by Jwelch5742

Plot Summary | Plot Synopsis

Taglines:

A film by Ang Lee


Motion Picture Rating (MPAA)

Rated PG-13 for martial arts violence and some sexuality | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Taiwan | Hong Kong | USA | China

Language:

Mandarin

Release Date:

12 January 2001 (USA) See more »

Also Known As:

Crouching Tiger, Hidden Dragon See more »

Filming Locations:

Anhui Province, China See more »

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Box Office

Budget:

$17,000,000 (estimated)

Opening Weekend:

HKD 7,714,001 (Hong Kong), 20 July 2000, Limited Release

Opening Weekend USA:

$663,205, 10 December 2000, Limited Release

Gross USA:

$128,078,872

Cumulative Worldwide Gross:

$213,525,736
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color (Technicolor)

Aspect Ratio:

2.39 : 1
See full technical specs »
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Did You Know?

Trivia

Michelle Yeoh tore her ACL (anterior cruciate ligament) during the shooting of an early fighting sequence and had to be flown to the United States for knee surgery. She returned to the set at different times to film non-action scenes until her knee had recovered. See more »

Goofs

(at around 1h 26 mins) Within the shots of forest and mountain before the sword-fighting scene in the trees, there is an electrical cable mildly visible gracing the side of a green mountain. See more »

Quotes

[first lines]
Man: Master Li is here! Master Li is here!
See more »

Crazy Credits

The opening title appears in Chinese and English. See more »

Alternate Versions

DVD edition features English-language version; VHS edition available either dubbed or subtitled. See more »

Connections

References Star Wars: Episode I - The Phantom Menace (1999) See more »

Soundtracks

A Love Before Time
Music Composed by Jorge Calandrelli, Dun Tan
Lyrics by James Schamus, Elaine Chow (Translation)
Performed by CoCo Lee featuring Cello Solo by Yo-Yo Ma
Coco Lee appears courtesy of Sony Music Entertainment (Holland) B.V.
See more »

Frequently Asked Questions

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User Reviews

Hulk Smash!
8 May 2012 | by tieman64See all my reviews

Fans burnt by George Lucas' "Phantom Menace" found solace in Ang Lee's cosily straightforward "Crouching Tiger Hidden Dragon". The film was greeted with a shrug in China (it was a flop), a country desensitised to wuxia tales, but Westerners loved it. Probably because "Tiger" is basically "Star Wars", with its own assortment of bounty-hunters, Jedis, Sith Lords, princesses, rogues, warriors, villains, henchmen, Yodas, fairy tale romances, teachers, masters, apprentices, chosen ones and much vague talk of destiny, fate and "light" and "dark" sides. When he's not indulging in super choreographed action sequences, Lee's aesthetic is also very Lucasy, which is to say, very John Ford, very David Lean, very Kurosawa, with clean lines, big open spaces, and simple but careful shot selection. What's strange is the film's budget. The film looks like it has the budget of one of those big, state backed Chinese or Stalinist productions, but "Crouching" was made for about fifteen million dollars. Lee gets a lot of mileage out of his budget.

Martial arts fans abhor "Tiger". It's too geared to western tastes, too watered down, and China's been churning out similar wuxia for decades. Why should this one get all the credit? But Lee does put his own spin on the material. His film is more sensual, poetic, graceful, romantic, has a mysterious beauty, and is more delicate than is typical of the genre. His female characters are also given a bigger role than is customary and his action at times seems more like expressive dance.

Repression, restrictions, strict moral codes and self-control are an obsession with Lee. With "Hulk" we had a scientist who struggles to curb his anger, his "Taking Woodstock", "Wedding Banquet" and "Brokeback Mountain" revolved around characters repressing their homosexuality, while "Sense and Sensibility", "Lust Caution", "Ice Storm" and "Woodstock" again all hinged on either repression, free expression or the inhibiting of desire. In "Crouching's" case – the title itself refers to "one who has hidden, suppressed talents" - we have a stifled three-way love between characters called Mu Bai, Shu Lien and Jen Yu, all of whom are prohibited from desire by strict moral/social codes, feudal customs and warrior traditions.

The rejection of these codes is perhaps why the film was shunned by China (and is so popular with western women). Chinese mythology, Taoist philosophy and the hokey "mysticism" of Asian martian arts films (akin to "Star Wars'" "The Force"), all stress an esoteric mode of detachment, a form of denial characteristic of Eastern thought in which the world is seen to be illusory and detached cogitation is seen to be the path to enlightenment. Lee, in contrast, is trading in a more genteel, Western sensibility; a kind of romantic humanism where one is called to ditch Eastern stoicism and embrace the "reality" and "meaning" of human attachments in this life. This tug-of-war is epitomised by a trio of conversations located in each of the film's three acts. In the first, characters called Mu Bai and Shu Lien, who we learn have long had feelings for each another but have denied these feelings to pursue the demands of a Wudan warrior lifestyle, discuss the fact that Mu Bai, when meditating, reaches not "the bliss of enlightenment" but "a place of endless sorrow". For Mu Bai, passions cannot be extinguished and only serve to increase the pull of desire. Mu Bai's conflict – the way clinging to personal affection is contrary to his Wudan ways of detachment – can be found even in Lucas' "Star Wars" prequels, only there Lucas has some monastic ninja kid literally moan about the way his calling prevents him from losing his virginity ("Me want make sexy time but Yoda say no! Wah Wah Wah!").

The second conversation occurs at the film's midpoint, when Mu Bai and Shu Lien finally touch. "Shu Lien," he recoils, "the things we touch have no permanence. My master would say there is nothing we can hold onto in this world. Only by letting go can we truly possess what is real." Shu Lien then brushes aside his Taoism with direct, naive realism: "Not everything is an illusion. My hand is real."

It's in the third conversation that the film breaks away from your typical martial arts movie mysticism and repudiates Wudan philosophy. Here, Mu Bai is dying and Shu Lien urges him to meditate: "Free yourself of this world. Let your soul rise to eternity. Do not waste your breath on me." "I have already wasted my life," Mu Bai responds. "I would rather be a ghost drifting by your side, as a condemned soul, than enter heaven without you." Contrast this with the countless marital arts movies, or even the "Star Wars" franchise, which end with the ghostly spirits of dead warriors, monks and masters hovering contently over the living. Mu Bai is given no supernatural reprieve, no higher plane of existence. He just dies. The film then ends with the recounting of a mountain legend in which a young woman must paradoxically "float away and never return" if she wishes to "return". The whole film hinges on a similar paradox: acting on a desire one desires not to have. It's the paradox of Buddhism: continually desiring to eliminate desire, whereby satiating desire is impossible and it is ultimately desire which blocks the road to desirelessness. This is contrasted with a more Western hedonism, where the hedonist attempts the cessation of desire by "giving in" to them all.

Beyond all this, the film resembles the works of King Hu, Ozu and Ichikawa, the latter two only insofar as it contrasts straitjacketed older generations, and their societal obligations, with oppositional, younger generations. The film's ending suggests that a character called Jen sacrifices her life/love so that Mu Bai and Shu Lien may finally be together.

8.5/10 – Worth two viewings.


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