REVIEW: ‘Bichunmoo’ (2000)

One of South Korea’s most expensive films to date combines dazzling martial arts action with a tragic romance that would do Shakespeare proud, if he were into swordplay sagas of course.

BICHUNMOO’s non-linear plot begins when we meet Jinha Yu, a vicious Koryo swordsman who leads the ninja-like Ten Swordsmen into battle against the remnants of the Mongol Empire who still rule all of China. In a series of flashbacks, we meet Jinha’s childhood sweetheart, Sullie who is the illegitimate daughter of General Taruga, a Mongol commander. As young adults, they are painfully separated and Sullie is forced to marry another man after Taruga leaves Jinha for dead following an ambush.

At this point, we jump ten years into the present where we find that Jinha has not only recovered but is leading the black-clad force of mercenaries. A tenuous relationship develops between Jinha and the Chinese Han who are also trying to drive the Mongols out. Jinha discovers that General Taruga and the Hans want nothing more from Jinha than to learn his powerful “Bichun” style of swordsmanship that is his family’s heritage.

Loyalties shift while Jinha endures a painful reunion with Sullie and the son whom he never knew. Before the end, Jinha must confront his past, make peace with his loved ones and defeat those who try to learn his martial arts at any cost.

BICHUNMOO borrows from a number of film sources. First off, there is a very obvious similarity to Wong Kar-wai’s 1994 production ASHES OF TIME. Aside from the frequent flashbacks that confusingly meld with the present narrative for anyone not paying close attention, the distorted and jarring camerawork during the action sequences are both intense and undoubtedly frustrating for fans of the more drawn out fight scenes found in the Yuen Wo-ping choreographed CROUCHING TIGER, HIDDEN DRAGON.

Hong Kong action choreographer, Ma Yuk-sing (DR. WAI IN THE SCRIPTURES WITH NO WORDS) makes significant use of wires while fast moving edits and subtle CGI effects give the fight scenes a slick, albeit over-edited MTV video look. What saves the action from dissolving into a mess of quarter-second pictures of whirling, indistinct bodies is the lush cinematography. It effectively highlights brooding assassins and swordsmen in fantastic costumes. There is nothing like watching ten bad-to-the-bone black warriors in matching basket hats wading into a small army with swords at the ready. The locations were beautifully shot with some creative CGI effects to show the passage of time.

The film score deserves special mention. A combination of haunting symphonic music, driving rock ‘n’ roll riffs, and synthesizers effectively enrich the film with atmosphere and emotion. In fact, many scenes rely more on the visual and musical elements to carry the story forward.

What doesn’t work in the film is the somewhat heavy-handed approach to a rather simple plot. It really comes down to a classical tale of lovers thwarted by fate and the melodrama of an angst-ridden anti-hero whose superhuman abilities and skill cannot supply him the satisfaction he desires. You have to ask yourself why these characters put themselves through such torture for love or duty. One reason Asian films are not more popular in Western culture is the fact that we’re more jaded as an audience. I admittedly found myself groaning once or twice, wishing the characters would stop beating themselves up for some heroic ideal. In truth, the story is very traditional in the sense that the protagonists are idealists and remain loyal to their cause, right up to the end. Unfortunately, the emotional impact is dulled due to a scattered narrative that relies on too much non-verbal introspection and short takes. Nevertheless, BICHUNMOO has a lot to offer considering the splendid music and visuals, frantic swordplay with an unexpectedly high amount of dismemberment, and some truly memorable scenes.