REVIEW: ‘Ashes of Time’ (1994)

ASHES OF TIME is celebrated art house director Wong Kar-wai’s deconstruction of the wuxia pian featuring a powerhouse lineup of Hong Kong superstars, a challenging revision of a classic wuxia novel, the gorgeous cinematography of Christopher Doyle, and rare, wire-enhanced choreography of Sammo Hung.

In a series of interposed, non-linear scenes we learn that Ouyang Feng (Leslie Cheung) is a disenchanted swordsman who left his home at White Camel Mountain to run a tavern in the desert. His real business is to hire mercenaries for people who need assistance and can pay the price. He is visited by a number of colorful characters including his friend, Huang Yaoshi (Tony Leung) who is involved with Feng’s former love interest, Murong Yin (Brigitte Lin) and Murong Yang, being one and the same, Murong loves and loathes Huang Yaoshi. Others include a swordsman with failing sight who wishes to see his love and his home one more time, a determined young woman who seeks vengeance for the death of her brother, and Hong Qi (Jacky Cheung), a swordsman who comes to her aid.

This is a beautifully filmed and masterfully directed tale of love lost and people desperate to find resolution in their lives. Wong Kar-wai is better known as a director of art house films such as DAYS OF BEING WILD (1988) and IN THE MOOD FOR LOVE (2000). His trademark style of seemingly freeform narratives and creative imagery are masterfully combined with Sammo Hung’s seasoned choreography. In Wong’s only martial arts film to date, there is found a depth of character development and genuine emotional motivations that provide the true meat of the film.

The action varies slightly from Hung’s previous work in that most shots are extremely close. Wong’s focus on facial expressions and tight camera work results in the viewer feeling more attached to the people on screen. Although this coziness is offset by a narrative that courses through the events of several character’s lives who are distant, lost in their own selfishness or remorse.

Frankie Chan’s soundtrack deserves mention as one of the best I have ever heard for a martial arts film. It captures the mood perfectly and contains exotic tones to match the gorgeous landscape.

This is not your standard kung fu movie. Many reviews I have seen often complain about the confusing narrative that is hard to follow. I will agree that you have to concentrate, but that certainly isn’t a flaw. On the contrary, the film gains points for layering a thick stew of emotion, heady imagery and a visceral expression in its action which is reminiscent of Sergio Leone’s classic Westerns.

This is a film to be appreciated over repeated viewings. The acting is excellent, the cinematography beautiful, and the action sequences while not on par with the best wuxia pian is at least competent and plentiful. I wholly recommend this title to see just how rich a martial arts movie can be, seen through the eyes of a true artist.