Monday, July 16, 2012

The Lost Bladesman (關雲長) Review

Not Rated

Running Time: 1 Hour & 49 Minutes

Cast-
Donnie Yen-Guan Yun-Chang
Jiang Wen-Cao Cao
Betty Sun-Qi Lan
Alex Fong-Liu Bei
Wang Po-Chieh-Emperor Liu Xie of Han
Chin Siu-Ho-General Yan Liang
Shao Bing-Zhang Liao
Andy On-Kong Xiu
Nie Yuan-Han Fu
Yu Ailei-Bian Xi
Wang Xue-Bing as Wang Zhi
Calvin Li-Qin Qi
Zhou Bo-Pujing
Dong Yong-Xun You
Sang Ping-Xu Chu
Chen Hong-Lady Gan/Liu Bei's First Wife
Zhao Ke-Lady Mi/Liu Bei's Second Wife

Directed by Alan Mak and Felix Chong

Donnie Yen as the legendary historical figure Guan Yun-Chang in "The Lost Bladesman," which takes place some years before the Three Kingdoms era in China.
Note: In Mandarin with English subtitles.


If you're Chinese like me, you've often heard the phrase that 'China has 5000 years of history.' However, that statement is nothing more than a misnomer as the earliest ancient writings only date back to approximately 3300 years. One time period that has received considerable attention in folk stories, novels, films and even video games is the Three Kingdoms period, which lasted roughly sixty years from 220 AD to 280 AD. One of the bloodiest chapters in Chinese history, the Three Kingdoms era was part of a long period of disunity that began with the collapse of the Han dynasty and lasted for over 300 years, until 589 AD when the Sui dynasty briefly took control. Among the dynasties that formed during this turbulent era were three competing states: Cao Wei, Shu Han, and Eastern Wu, each led by an emperor claiming to be the legitimate successor of the Han dynasty. Hundreds of years later in the fourteenth century, author Luo Guan-Zhong released his historical novel Romance of the Three Kingdoms, one of the Four Great Classical Novels of Chinese Literature (a list that includes Journey to the West by Wu Cheng'en from the sixteenth century), which greatly romanticized the Three Kingdoms period by mixing facts with legend. Not only is it one of the most beloved works of literature in East Asia whose influence has been compared to that of Shakespeare, it is also the most widely read historical novel in late imperial and modern China. Romance of the Three Kingdoms has inspired numerous adaptations that include John Woo's "Red Cliff," which was released in two parts in 2008 and 2009 with a total running time of four hours and forty-eight minutes to a series of action video games titled "Dynasty Warriors," published by Tecmo Koei. The latest film to explore the Three Kingdoms period is Alan Mak and Felix Chong's "關雲長," known as "The Lost Bladesman" in North America and starring Donnie Yen, who is currently one of the most popular and highest paid actors in Asia. Despite Yen's star-power and his brilliant action choreography, "The Lost Bladesman" represents one of the actor's lesser efforts due to a plodding, emotionally hollow storyline whose nuance will be lost on those not familiar with Chinese history.

Beginning in medias res at the funeral of Guan Yun-Chang (Donnie Yen), the film flashbacks to twenty years ago to 200 AD during the Battle of Baima (the first of a series of battles that preceded the Three Kingdoms era), where Guan Yu was a prisoner of Cao Cao (Jiang Wen), a warlord and chancellor to Emperor Liu Xie (Wang Po-Chieh) of Han. In the name of peace, Guan Yu agrees to fight under Cao Cao's banner and leads thirty cavalry men against Yuan Shao's general, Yan Liang (Chin Siu-Ho), and kills him with his Guan Dao. For his decisive part in lifting the siege on Baima, Emperor Liu Xie grants Guan Yu the title of 'Marquis of Han Shou' and promotes him to the rank of lieutenant general. During this time, Liu Bei's (Alex Fong) family and his concubine/soon-to-be third wife Qi Lan (Betty Sun) were staying in Cao Cao's territory with Guan Yu. Cao Cao constantly presented Guan Yu with gifts in the hopes that he would remain by his side but the general refused to renounce his loyalty to Liu Bei, who is his sworn brother. Guan Yu negotiates the release of Liu Bei's family when he learns that the warlord had sought refuge under Yuan Shao. Qi Lan stays with Guan Yu (who is secretly in love with her) but upon receiving the whereabouts of Liu Bei from a messenger, he leaves the service of Cao Cao. The decision is strongly opposed by Cao Cao's advisors, who fear that by letting him go, Guan Yu would become a threat to their lord in the future. Despite their concerns, Cao Cao is adamant that no one is to stop him from leaving. However, the advisors secretly inform the six generals guarding the five passes to apprehend and slay Guan Yu, forcing the great warrior to shed more blood in order to protect Qi Lan.

A popular figure in Chinese folk religion, Guan Yu's true life stories have largely been replaced with heavily fictionalized ones, mostly found in Luo Guan-Zhong's Romance of the Three Kingdoms. Many Chinese shops and restaurants have a small shrine dedicated to Guan Yu as he is revered for his loyalty and righteousness. "Infernal Affairs" trilogy writers Alan Mak and Felix Chong adapts chapters 25 and 26 of Luo Guan-Zhong's historical novel in "The Lost Bladesman," where Guan Yu set out on his famous journey known as 'Crossing Five Passes and Slaying Six Generals.' Unfortunately, the restrictions of the source material lead to a hamstrung narrative that saps much of the drama in the film, making for an emotionally hollow experience. While the opening Battle of Baima is suitably exciting, that momentum isn't carried through and leads to a rather plodding first half as Cao Cao unsuccessfully tries to manipulate Guan Yu into fighting for his side. Numerous names are dropped by the characters but those unfamiliar with the Three Kingdoms period or Luo Guan-Zhong's novel will be left scratching their heads as to who they are and what role they play in the context of the film's story. The love triangle between Guan Yu, Liu Bei, and Qi Lan is also underdeveloped because Bei himself only makes a cursory appearance in a flashback scene. Guan Yu frequently refers to Liu Bei as his sworn brother but there is no attempt to provide any background on their relationship or explain why he is so fiercely loyal to him. Part of the problem is that the film assumes audiences will be familiar with the source material and while this may be true for viewers living in China, those in the U.S. won't be. The overall plot in "The Lost Bladesman" can still be followed but the deeper motivations of the characters, the 'why,' are sadly lost in translation.

Not helping matters is the fact that Guan Yu is a relatively bland character since the script makes him out to be this heroic figure that can do no wrong. If you're flawless, there's no drama. Thankfully, Jiang Wen's Cao Cao makes up for this issue. Presenting a friendly exterior, Cao Cao is extremely manipulative and employs unethical means to get what he wants, such as drugging Guan Yu's food with an aphrodisiac so that he will rape a paralyzed Qi Lan but the general manages to keep his composure through sheer force of will. However, Cao Cao is ironically a man of his word who orders his subordinates to let Guan Yu leave despite the threat he poses to them. Cao Cao is a pragmatist and therein lies the main theme of the film—idealism vs. pragmatism. Guan Yu is so bound by honor and duty that he is unable to do what it takes to reunite China while Cao Cao understands that it will take bloodshed to bring the other two factions under control. This is all well and good but "The Lost Bladesman" never gives you a reason to care about what's happening, leaving the action scenes to pick up the slack. As Yen serves as the film's action director, you can expect a number of rousing sword battles that get the blood pumping. The standout (and most ambitious) is during a horseback chase between Guan Yu and Andy On's Kong Xiu in a narrow, circular alleyway. The two end up engaging in a furious one-on-one battle that will leave action fans on the edge of their seats. There's also an extended sequence at a water mill that has Guan Yu taking on numerous opponents despite being poisoned. A major battle also takes place behind closed doors, which is a bold move but it ends with a wonderfully executed moment as a stoic Guan Yu slowly walks away from a pile of bodies. The second half definitely proves to be more exciting thanks to its heavy emphasis on action and elevates what would've been a mediocre film to a passable one.

Donnie Yen may be one of the highest paid actors in Asia but he gives a rather cold and emotionally distant performance as Guan Yu. His excellent action choreography makes up for his lack of nuance and limited emotional range. Jiang Wen fares better with his charismatic turn as Cao Cao but his dialogue is often reduced to waxing political treatises. Playing Guan Yu's love interest Qi Lan, Betty Sun unfortunately has little to do besides scream and bat her pretty eyes at Yen. The rest of the supporting cast are little more than cannon fodder under Guan Yu's Green Dragon Crescent Blade.

"The Lost Bladesman" was released on April 28, 2011 in China and Hong Kong but it wasn't until this year's New York Asian Film Festival that it was finally shown theatrically in North America. Reviews have been mixed with 57% on Rotten Tomatoes but the film managed to become a box office hit in China with a total gross of ¥158.5 million or $24.4 million. Audience response at NYAFF 2012 was largely enthusiastic and Donnie Yen himself even made a special guest appearance to talk about his role as Guan Yun-Chang. Surprisingly, he admitted that he wasn't all that familiar with the Three Kingdoms era before signing on and had to do some initial research. Yen also revealed that he ate five meals a day, putting on some extra body weight to portray the famous historical and legendary figure. Currently out on Blu-Ray in Hong Kong, "The Lost Bladesman" offers up some rousing action scenes but the script from Alan Mak and Felix Chong proves to be too obtuse for those unfamiliar with Luo Guan-Zhong's novel or the Three Kingdoms period in Chinese history. Nevertheless, it remains a passable film thanks to Donnie Yen's presence and his top-notch action choreography.

Final Rating: 3 out of 5

"As transient as dreams and shadows, as erratic as dew and lightning, such is life."