独臂刀影评：Thoughts on The Concept of Jianghu – Vengeance, Morality, and Karma
I have to admit that I am not a big fan of this film – neither the storyline nor the fight scenes, for the predictable and overly melodramatic approach. However, I do see the big picture of jianghu that Chang Cheh was trying to convey through the perspective of his main character Fang Gang. As Bordwell mentioned, Hong Kong’s “new wuxia pian” drew material from martial-arts novels: plots of vengeance, competition for the highest rank in the martial world, the search for a combat manual (Bordwell, 2011). These classic features were all reflected in this film The One-Armed Swordsman.
Fang Gang’s motto has always been: not so much an eye for an eye. Even after his arm was cut off by his master’s daughter, he did not seek vengeance to her or the master’s family. In contrast, he helped her and eventually rescued his master in his most urgent needs. I consider this morality under three influences. First of all, Fang Gang’s father died because he tried to protect the master. Gang’s loyalty to his master could be seen as the passing down of family traditions. Secondly, he fell in love with a woman, and the desire to live in peace with his family trumps the motivation of vengeance. Last but not least, the atmosphere of the society – yi (義, I think the correct translation should be morality instead of male honour). Gratitude has always been considered a virtue, and Gang regards the help and support received from his master more important than the hurt and disgrace from that family. His high level of morality brings him surprisingly good results, which I consider as karma or a blessing in disguise. Although lost an arm, Gang met his love, got the combat manual only for the left arm, and dodged the arrow that was supposed to shot him.
The rapid cutting and the use of handheld camera gave the storytelling more dynamics. Besides the fight scenes, I particularly like the scenes where Fang Gang and Xiaoman had a conversation outside their house. The camera was moving through wickers while the plot went on, adding a mysterious and romantic element.
References
Bordwell, D. (2011). Planet Hong Kong - Popular Cinema and the Art of Entertainment (2nd ed). Irvington Way Institute Press.
正片
