Chat gim (2005)

Calificación de los usuarios:

6.2/10   

Director:

Hark Tsui

Escritores:

Chi-Sing Cheung (writer)
Tin Nam Chun (writer)

Fecha de Lanzamiento:

29 julio 2005 (China)

Género:

Acción | Drama

Plot:

Seven warriors come together to protect a village from a diabolical General.

Plot Keywords:

Sword | China | Martial Art | Decapitation | Hero

Premios:

2 wins & 17 nominations

Comentarios de los usuarios:

The unadulterated soul and new definition of Wu Xia Pian

Reparto

Donnie Yen	...	Chu Zhao Nan
Leon Lai	...	Yang Yun Chong
Charlie Yeung	...	Wu Yuan Yin
Liwu Dai	...	Xin Long Zi
Chia-Liang Liu	...	Fu Qing Ju
Duncan Lai	...	Mulang (as Duncan Chow)
Yi Lu	...	Han Zhi Ban
Jingwu Ma	...	Master Shadow-Glow
Jason Pai Piao	...	Liu Jingyi
Honglei Sun	...	Fire-wind
Michael Wong	...	Prince Dokado (as Michael F. Wong)
Jingchu Zhang	...	Liu Yufang
So-yeon Kim	...	Luzhu
listado alfabético del resto del reparto:
Jiajia Chen	...	Kualo
Michelle Mee	...	Luzhu (voice)
Wenjie Wang	...	Duogeduo Swordsman
Lixiao Yang	...	Girl in blood

También conocida como:

Qi jian (Hong Kong: Mandarin title)
Seven Swords (International: English title)
Seven Swords of Mt. Tien - Part I (Hong Kong: English title) (working title)
Seven Swordsmen Leave Mt. Heaven (Hong Kong: English title) (working title)
The Seven Swords (International: English title)
Siete espadas (Argentina) (DVD title) (Spain) [es]

Duración:

153 min | Singapore:141 min (cut)

País:

South Korea | Hong Kong | China

Idioma:

Cantonés | Mandarin | Coreano

Color:

Color

Relación de Aspecto:

2.35 : 1

Sonido:

Dolby Digital

Clasificación:

Netherlands:16 | Switzerland:14 (canton of Geneva) | Switzerland:14 (canton of Vaud) | Australia:MA | Canada:13+ (Quebec) | Finland:K-15 | Sweden:15 | UK:15 | Norway:15 | Ireland:15A | Germany:16 | Malaysia:18SG | Argentina:16 | South Korea:15 | New Zealand:M | Singapore:PG (edited version) | Singapore:NC-16 | Hong Kong:IIB

Locaciones de Filmación:

Xinjiang, China

Compañía:

Film Workshop

Trivialidades:

The opening film of the 2005 Venice Film Festival.

The unadulterated soul and new definition of Wu Xia Pian

It's quite humorous as i noticed up to now, that most of the people who so ineffectively tried to diss this movie so far seemed to me very much unacquainted with this genre and predominantly had absolutely no idea what is basically a heart and soul of the Wu Xia Pian in general. No wonder their criticism also carried no weight to this film.

Lots of my close friends who are also quite versed in this genre are already lauding Seven Swords as probably the best wuxia that was ever transfered on screen, and i think there's the reason to that, most probably because it was essential and very true to its genre roots unlike over the last 20 years could have showed to us - and that's the irony of it all, most of the public today is fed up by very incorrect interpretations of this genre, which is today even more exponentiated by its recent exploitation for the world market. Objectively speaking, Seven Swords is really one of the most honest, genuine homages to this genre that have ever happened in the Asian film history actually, and that's no exaggeration. WuXia was first and foremost about the romance, elevation of the spirit and mind and anti-violence, and personal philosophies about the real-life issues, which was manifested and laced through the martial arts as part of an entertaining form. It'd be a no surprise to me either if the subtlety of the romantic sub-plots was what's going to be the fundamental element of this whole upcoming Seven Swords saga of films, and that's what some people hate or can not understand in this type of films. This film shows the new direction in the more emphasis on the romance and high realism, but still strictly encompassed in the classic wuxia world.

I'd like to offer a few notes about the definition of Wu Xia Pian. It is not necessarily a realism or martial arts anyway, that's practically a secondary aspect, what's the real essence of the wuxia is the very definition of the "Wu" - the spiritual realization of the human existence which leads to the peace in the heart & mind > soul & body > heaven & earth (note: the presence of the sword in a wuxia pian is subtly related to the extension of the human spirit/heart, in other words, the sword is not an object, but a trajectory of thought, a projection of the spirit). "Wu" can be described as well as an "awakening to the truth". Then most importantly the definition of the "Xia" - which is an attempt to elevate one's spirit to a romantic way of life. When a person rises above the concerns of daily life and pursues a spiritual existence, upholding integrity and peace through personal strength, then he or she is a xia. People can be weak in courage or doubtful of strength, but a xia acts upon his/her principles to maintain justice and help others. (Most people usually simplify this background just on the chivalrous heroism and courage... but it in really it goes a little bit deeper). That's what i see as the spirit of the most relevant wuxia film masterworks like Touch of Zen, Clans of Intrigue, Dragon Inn, Swordsman or Seven Swords that go down in history as the monumental landmarks of the Chinese culture and art. They're really the heart and soul of this genre. I'm also personally convinced that only this type of movies can much easily survive through the time in contrast to the general commercial appeasements like "Hero" or Crouching Tiger" and their disdain to any social establishment or culture.

From my experience and knowledge i can fairly concede that Seven Swords is possibly the greatest and the most powerful post-modern WuXia film people could've ever witnessed on screen. What people are usually dissing about this film is apparently the emergence of the metaphysical conceptualizing and postmodern narrative and new technical pattern that can seem to be very misunderstood in most cases. People are wrongly expecting another visceral entertainment when in reality Seven Swords is immensely cerebral and cynical for the young audience today. This is a new example of a film when the audience is supposed to work for rather than expecting every detail to be spelled out for them. This is surely very unlike today's Hollywood cinema.

I'm very confident that just like Once Upon a Time in China movies 15 years ago, Seven Swords is about to bring to this decade and generation a new trend of the profound realistic WuXia film-making strictly based more on humanity than on martial arts, but supposedly that can only be either ignored or fully comprehended, but i hope not. I feel that with the financial help by the Chinese companies like CiWen this is seriously looming up to be the advent of something much more sensational and much bigger than even in the early 90's as well.

In conclusion, i have to proclaim that Seven Swords is indeed a real monumental masterpiece that once i believe will definitely be proudly standing as the crown jewel and the embassador of the Xia culture alongside the genre greats like Wild Bunch, Ben Hur, Seven Samurai, Metropolis or Apocalypse Now.