There is a kind of Zen enlightenment permeated in this film, which is also one of the very important essences of Chinese martial arts -------- Zen. The connection between Zen and Wu is also reflected in many other martial arts works from time to time. Xiao Li Fei Dao is a kind of knife with no appearance. No one ever knows where it is placed. They only know that it is where it should be. The so-called colorless and invisible, but it is everywhere
. Chan and martial arts are one, and it coincides with the idea of "entering the WTO" and "being born" in our traditional culture, not "entering" but "exiting", "entering" and "exiting".
This film also adds the historical background that chivalrousness should exist in, without this link, at most it can only be said to be a martial arts film, not the word martial arts. Just like in The Legend of Condor Heroes, when Guo Jing was defending Xiangyang, he told Yang Guo on the city tower, "To act as a chivalrous person and to fight for righteousness is only the lesser chivalrous person. For the country and the people, it is the great chivalrous person."
However, Guo Jing finally Still dead in battle, Yang Guo's black iron sword only turned into Yitian, Tulong, and watched over a century with the desolation of an eagle... "Martial arts" may have become a way out of fantasy to save the country, but it has not been able to. Stop the wheel of history. However, with the migration of history, martial arts has deeply penetrated into Chinese people's thinking, it has become an ethics, a culture, a spirit, and even a national symbol, a unique collective subconscious. The cult of personality, a national complex of the Chinese nation pursuing perfect personality.
This Chinese martial arts movie, adapted from Pu Songling's "Liao Zhai", has won rave reviews for its ups and downs, calm and suspenseful atmosphere, skilled and precise skills, and infiltrated Zen philosophy. The Cannes Film Festival Technology Award that year marked a milestone for Chinese-language films.
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