Leon Lai, Donnie Yen, Charlie Young, Duncan Chow, Lu Yi, Tai Li-Wu, Lau Kar-Leung
Directed by Tsui Hark
Action Directed by Stephen Tung

Set in the early 1660s, Seven Swords is based on the Wuxia novel by Leung Yik-Sang. The story centers on the fact that the Manchurian government has prohibited civilians from practicing martial arts. A mercenary band of killers out to make money by murdering entire villages slashes their way across the land. Led by Fire-Wind, an immoral military leader from the last dynasty, their attack on the last town before reaching Martial Village is interrupted by Fu Qingzhu. Injured in his fight with the barbarians, Fu is rescued by Wu Yuanyin, who takes him back to Martial Village for medical attention. Fu tries to warn the leaders of Martial Village of the deadly hoard that is approaching, to no avail. That's because a bunch of Martial Village residents have a grudge against Fu, who happened to be an executioner during the last dynasty. The villagers imprison him and plan to execute him the next morning. But, of course, Wu believes in what the old man is trying to say, and with a friend assists his escape to Heaven Mountain so seek the help of Master Shadow-Glow to save Martial Village from annhiliation.

And here we meet the seven swords: Donnie Yen as Chu Zhaonan carries the indestructible Dragon Sword, Leon Lai as Yang Yun-Chong with the Transcience Sword, Li Yi as Han Zhibang and his Deity Sword, Duncan Chow plays Mulang who fights with the versatile Celestial Beam Sword, Tai Li-Wu as Xin Longzi who uses the twin Star Chaser Swords, Charlie Young as Wu Yuanyin and the Heaven's Fall Sword, and Lau Kar-Leung (who also choreographed martial arts) as Fu Qingzhu carrying Unlearn Sword.

Compared to the spate of so called martial arts films to hit the "outside Asia" market such as Crouching Tiger, Hidden Dragon and Hero, Seven Swords is a purer and more serious form of martial arts and more distinctly styled film. We are luckily spared from the arty fartsy flavor that for some strange and stupid reason filmmakers think is necessary for films that are to be marketed outside the "home" market. The fight scenes, although appropriately intense, are expertly filmed in a way which you can actually see what the hell is going on and be able to appreciate the skill and hard work behind it all. If you can't tell already, this is a very important thing for me.

Seven Swords opened the 62nd Venice International Film Festival to mixed reviews. That just goes to show how inexperienced the world is to Hong Kong cinema and the no nonsense style of film. This was probably partly due to the storyline. On the surface it appears simple enough but it's actually kind of complicated. The film itself doesn't really do such a good job of introducing the premise at the beginning, that is to say, you have to already know exactly what is going on before watching the film, because if you went in there with absolutely no clue and no background information you wouldn't have any idea why things are happening the way they are. Another thing I'd like to pick at is the failure to develop the relationship between swordsman and sword. After all the film is titled for these special weapons, so it seems like it should be a big deal, you know, seven swordsmen with seven different and unique swords...

Despite the slight shortcomings, this film stayed focused and offered satisfying closure instead of trying to sprout ten different subplots in a vain attempt to be "deep" like many historical epics try to be. Films from veteran HK film industrialites such as Tsui Hark with this fine example are getting better and better in quality and will hopefully give Hollywood a run for its money one day. Movie goers just need to be indoctrinated ;)