Hua, a famous swordsman refuses to give up a treasured sword called Chi Wu which is believed to be evil. Li Mak-jan, an ambitious young fighter saves his daughter and challenges Hua with the same evil sword. Hua suffers a mortal wound, not from Li but from an assassin ordered to kill Li. Li and Hua’s daughter join forces to avenge Hua’s death and save Li’s childhood sweetheart from her jealous husband who had sent the assassin and who also sought to gain possession of the Chi Wu sword.
The Sword is a superior period swordplay that has unusually high production standards and a tightly woven story. The cinematography very noticeably borrows from Japanese and classical American film. The widescreen format is used to good effect with dramatic perspective and contrast that lends texture to the drama.
Unlike many Hong Kong swordplay films, the story is straight forward and effectively balances action with character development. The tale is a classic blend of tragic lost love and disenchantment as each of the main characters experience some form of hardship all associated with the Chi Wu sword. The protagonist, Li Mak-jan finds becoming the greatest swordsman at another’s expense is not only unfulfilling but leads him to be manipulated by wicked Lien Huan. Li’s childhood sweetheart, Hsiao Yue endures an abusive relationship with Lien and pays the ultimate price for continuing to love Li Mak-jan. Hua’s defeat at the hands of Li with his own sword is a revelation as to the evils in his life that come back to haunt him and his unwillingness to let go of his ambition. Yuen Chi, a friend of Hua who had unwittingly handed the sword to Li felt responsible for his death, thanks in part to the accusations thrown at her by Hua’s daughter, Ying Chih. Ying’s carefree lifestyle is shattered by the death of her father and she lashes out without thought. The only characters who seemingly are bereft of any internal struggle are the main villains, Lien Huan and his silent assassin who live and die without remorse. Having two-dimensional antagonists and a few campy death scenes are the only real detractors to the film.
The choreography was well done with some wirework and kinetic angles that became staples of Hong Kong cinema a decade later. It’s unfortunate that this was Patrick Tam’s only martial arts film. Yet like his more prolific contemporary Tsui Hark, Patrick influenced HK cinema by pushing for higher standards and combining modern film techniques with traditional Chinese sensibilities. The Sword stands as a significant contribution to martial arts cinema that successfully blends varying elements of filmmaking into a unique and masterful work of art.
by Mark PollardRelated Topics:
Adam Cheng • Eddy Ko • Norman Chu • swordplay • The Sword (1980) • Wuxia
