San Diego State University’s Independent Student Newspaper Since 1913

The Daily Aztec

San Diego State University’s Independent Student Newspaper Since 1913

The Daily Aztec




San Diego State University’s Independent Student Newspaper Since 1913

The Daily Aztec

Master of His Domain

Few directors can boast a portfolio as impressive asTaiwanese-born director Ang Lee. That he has managed to earn hisreputation in just eight years is remarkable, but indicative of hisnatural flair for filmmaking.

Since his debut feature in 1992, the critically acclaimed,award-winning “Pushing Hands,” Lee has never looked back, makingfilms in Taiwan, the United States and China. With a work ratecomparable to Woody Allen, his six films have all had an impact atmajor film festivals and garnered many awards, including recognitionfrom the American Academy.

Also similar to Woody Allen is the way Lee explores similar themesin different contexts. Beginning his career with what he describes ashis Father Knows Best trilogy (“Pushing Hands,” “The Wedding Banquet”and “Eat Drink Man Woman”), his early Taiwanese films explored familytensions and the clash between old and new in a genuine and touching,but also comical way. His first two movies take place on the EastCoast of America, perhaps borrowing from his own experience ofadapting to a new country (Ang Lee arrived in the United States in1978 at the age of 24).

Following the trilogy, Lee moved, seemingly with consummate ease,from Taiwanese cultural concerns to 18th century English etiquette inan adaptation of Jane Austen’s “Sense and Sensibility,” whichgarnered seven Oscar nominations in 1995.

Morerecently, he made “The Ice Storm” with Kevin Kline, Sigourney Weaverand Christina Ricci, and last year tackled the Civil War in “RideWith The Devil,” starring Tobey Maguire, Jewel and Skeet Ulrich. Bothcontinued his habit of earning excellent reviews from the critics andrecognition at film festivals and award ceremonies.

The range of Lee’s work, moving effortlessly through Taiwanesekitchen drama, 18th century English mores, 1970s suburban America andthe Civil War, displays his innate ability to portray the humancondition in any given situation.

‘Crouching Tiger, Hidden Dragon’

The latest film from Ang Lee, “Crouching Tiger, Hidden Dragon,” isone he has been waiting to make for several years — a mythologicalmartial arts epic. Screenwriter James Schamus, who has worked on allof Lee’s films, describes it as “‘Sense and Sensibility’ with martialarts.'” It promises a real chance of Oscar glory, not just in theBest Foreign Film category, but also for Best Picture.

Mixing kung fu with a touching emotional core, the film hasgarnered excellent buzz from the Cannes and Toronto Film Festivalsand has been receiving roundly excellent reviews in the UnitedStates. Sony Picture Classics has even delayed its release tocoincide with the competitive holiday season.

Lee believes this film is very similar to “Sense and Sensibility”in its essence.

“There’s ‘sensibility,’ a passionate, romantic force; if you gooverboard it can be destructive. On the other hand there is ‘sense,’– restraint, social code, obedience, repression. My films alwaysseem to be about how these conflicts resolve themselves.”

If audiences find parts of the film more cinematically reminiscentof the “The Matrix” than Jane Austen, it is no coincidence.Choreographer Yuen Wo-Ping, who recently orchestrated fight scenes inthe Keanu Reeves movie and also in the Jackie Chan’s “DrunkenMaster,” brought his experience to “Crouching Tiger.” With this filmthough, Wo-Ping has taken his fight sequences to a stunning newlevel.

Starring Chow Yun-Fat (“The Replacement Killers,” “Anna and theKing”) and Michelle Yeoh (“Tomorrow Never Dies”), this heroic lovestory lives in a world of its own, a China that only existed infantasy, where people can fly, have lightning-quick reactions andwhere honor is all. Ang Lee has made this world his own by adding afeminine angle that, as he readily admits, runs through all hismovies.

“Thewomen are gutsy and they make decisions,” he said.

Also starring is Zhang Ziyi, who was just 19 when she was grantedspecial leave from college to be in the film. Her exquisite, delicatefeatures light up the screen, ably giving her character a mix ofsingle-mindedness and youthful naivete.

Despite the grandiose feel of the movie, it was made on a paltry$12 million budget and is already in the black from its earnings inAsia. Sony Picture Classics is hoping, justifiably, for a big hitstateside to transcend its nominal place as a foreign art house film.

The moment you realize this movie is something special happensabout 15 minutes into the film, when Michelle Yeoh and Zhang Ziyifloat over rooftops and leap from walls as they confront one another.In this instant, you nearly forget to breathe, as the sheer majestyof their actions transports you to another world. Audiences aroundthe globe have been giving standing ovations to this moment of magic.

“Crouching Tiger” is both epic and emotionally involving in a waythat George Lucas has attempted, but never come close to with his”Star Wars” films. It will alternately have you clapping in applauseand reaching for a handkerchief. One of the most consistentlybrilliant directors of his generation, Ang Lee has faced a newchallenge and come away with the must-see movie of the year.

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San Diego State University’s Independent Student Newspaper Since 1913
Master of His Domain