“A
rich tale of ancient China with creepy modern resonance.”
It is China against Rome in the historical action epic Dragon Blade. Written and directed by
Daniel Lee, this East-meets-West adventure film premiered in China in early
2015 during the Chinese New Year holiday period. Running 25 minutes shorter, it
was later released in other territories.
The film is set in 48 B.C. when ancient China’s Silk Road is
threatened by the 36 races that lay claim on the area. Huo An (Jackie Chan) and
his Chinese peacekeeping troupe known as “Silk Road Protection Squad” are constantly
working on establishing order among the various ethnic minorities in the
country’s remote western regions. After being framed for gold smuggling, the troop
is exiled to Wild Goose Gate, a rundown city badly needing repair.
Now enters Lucius (John Cusack), a general who flees from
his Roman homeland to protect his young master Publius (Jozef Waite) from
falling victim to his brother’s betrayal and rebellion. Along with his Roman
legion, Lucius plans to lay siege and invade Wild Goose Gate. However, a
sandstorm interrupts Lucius’ and Huo An’s duel and after seeing the Roman
army’s physical fatigue, the Chinese commander opens the city’s gate and offers
them food and shelter.
In exchange, the Romans aid the myriad cultural groups in
rebuilding Wild Goose Gate and eventually, they become friends. Just in time to
raise their flag of brotherhood over the resurrected city, the treacherous
Roman consul Tiberius (Adrien Brody) and his 100,000-man army come marching on to take
over the land.
Expected of any Chinese-themed action films, Dragon Blade is an ambitiously grandiose
entertainment. It is visually pleasing with strong physical and emotional
appeal. Production design is efficient even though its stunning widescreen visuals
, such as the endless sun-kissed Silk Road, are obviously CGI-enhanced. Choreographed
by Chan himself, the acrobatic action sequences are basic yet engrossing and
breathtaking as ever. The fusion of Asian martial arts, gladiator-like
swordplay and Roman infantry battle formations is very sharp and refreshing. The
movie also has knacks for melodrama, especially towards the climactic battle
where elements of sacrifice from characters we learned to love are tearfully
witnessed. With its ability to mix drama and comedy in an action-heavy
narrative, the film is gripping and stirring throughout.
However, Dragon Blade
is poorly written, too formulaic that it never surprises. It bears the same pattern
for heroic tales. Its dialogues are too cheesy and generic. Just when moments are
intensely moving, they suddenly become flat and absurd as crappy interruption
follows. Like when the Roman boy heartfully sings his native land’s anthem, the
ensuing emotion-laden silence is broken by an awkward standard-issue round of
applause. For lack of better introduction, the feature has some banal and unnecessary
prologue where two archaeologists (Vanness Wu, Karena Lam) discover the lost
city of Regum. Though it claims to be based on true events, historical accuracy
has been once again terribly sacrificed for the sake of entertainment. Google
and Wikipedia might have so much to say about it.
The Asian casts are solid but the Americans are either
passable or dreadful. Chan is as good as ever. In this film, he simply does not
capitalized on his physical abilities but give more heart, whether in comic or
serious moments, as his character Huo An has complexities he can masterfully
play on. Chan also strikes an effective chemistry with Cusack. Lin Peng also shines
through with Moon as she transformed from a beautiful folly to a lovable
heroine. He may be too American but Cusack is surprisingly convincing as an
ancient Roman warrior. His combat scenes are also successful and believable. Though
he makes the most of his limited screen time, Brody is just too painful to
watch, not due to his long unkempt flowing hair, but because he does nothing
but scowl or glare. The other American casts are as problematic as their
appearance brings in an uncomfortable otherworldly feeling.
Amidst all the cinematic technicalities, Dragon Blade is notable for its
underlying socio-political message. Its depiction of Chinese culture does not simply
bear historical realities or white propaganda, but it delivers an eerily
diplomatic contemporary significance. It feels like it has two-fold (hopefully
nothing more) mission: re-introduce Chinese culture and uplift the country’s
respectability in the face of modern controversies. It is quite valiant when
Chan’s Huo An states that Chinese are trained to save people and not to kill. They
are peacekeepers, intent on the keeping order in the war-torn area. Such idea is
comforting but current events may prove otherwise. With all the territorial
disputes going on in the West Philippine Sea (or South China Sea), China keeps
on building structures, much like in the movie’s city of Regum, in the pretext
of establishing peace and security. As economically valuable as Silk Road, the
conflict maritime area is rich in oil, minerals and other valuable resources. And
then a Western villain comes with an evil desire to conquer the foreign territory.
Rings a bell? Finally the Parthian Empire appears, bringing goodwill and
nuggets of truth.
Dragon Blade has
a strong narrative with heavy action scenes and tear-jerking appeal. Despite its
cinematic efforts, the film remains too proverbial and conventional. With its
hazy subliminal message, it ends up desperate and portentous.
Production companies: A SFC Film Distribution Co. (in China) release of a
Sparkle Roll Media, Huayi Brothers Media, Shanghai Film Group Co., Sparkle Roll
Culture & Entertainment Development presentation of a Visualizer production
Cast: Jackie Chan, John Cusack, Adrien
Brody, Lin Peng, Joey Jozef, Mika Wang, Choi Si-won, Xiao Yang, Wang Taili,
Sammy Hung, Steve Yoo, Vanness Wu, Karena Lam
Director: Daniel Lee
Screenwriter: Daniel Lee
Producers: Jackie Chan, Susanna Tsang
Executive producers: Jackie Chan, Wang
Zhongjin, Ren Zhonglun, Zhou Moufei
Director of photography: Tony Cheung
Art directors: Eddy Wong
Production designer: Daniel Lee
Costume designer: Thomas Chong
Editor: Yau Chi-wai
Casting: Zheng Caijing
Music: Henry Lai
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