ORIZZONTI VENICE INTERNATIONAL FILM FESTIVAL 2011 DISCOVERY TORONTO INTERNATIONAL FILM FESTIVAL 2011 DRADONS & TIGERS VANCOUVER INTERNATIONAL FILM FESTIVAL 2011 A WINDOW ON ASIAN CINEMA BUSAN INTERNATIONAL FILM FESTIVAL 2011 GOOTIME CULTURAL COMMUNICATION CO., LTD PRESENTS A XU HAOFENG FILM "THE SWORD IDENTITY" STARRING YU CHENGHUI SONG YANG ZHAO YUANYUAN MA JUN XU FUJING DIRECTORS OF PHOTOGRAPHY SHA JINCHENG MENG XIAOQING MARTIAL ARTS DIRECTOR XU HAOFENG SOUND AND ORIGINAL MUSIC BY ZHANG YANG EDITOR XU HAOFENG ART DIRECTOR XIE YONG COSTUME DESIGNER LIANG TINGTING LINE PRODUCER LU LU EXECUTIVE PRODUCER LI RUI PRODUCED, WRITTEN AND DIRECTED BY XU HAOFENG 2011 GOOTIME CULTURAL COMMUNICATION CO., LTD. ALL RIGHTS RESERVED.
A sword that was meant to be abandoned. When the world is at peace, a warrior seeks to honour its legacy.
S YNOPSIS Short Once upon a time in the Southern Chinese city of Guancheng, there lived four families, each of them faithful keepers of martial arts. Anyone who wanted to establish a new school, or a new form of kung fu, had to fight his way through the family s gates. Two swordsmen enter the city to request a competition and start their own school, their strange new weapons are mistaken for Japanese swords and therefore forbidden by purist Chinese masters as a foreign fighting device. They are accused of being Japanese pirates by the masters of the martial arts schools. Facing arrest, the swordsmen must prove the value of swordsmanship by defeating the masters and a living legend who has returned from exile in the mountains. Long Ming Dynasty. An obscure alley in a town in South China has a sacred place in the martial arts world. Four legendary martial arts schools stand side-by-side. To earn the right to open a school in the town, one must first fight their way down the alley, school by school. One morning, two men with long swords enter the alley. The masters of the schools refuse the challenge of the strangers, fearful of losing their own positions, and accuse the men of being Japanese pirates because of their peculiar swords of a foreign design. When the four masters try to detain them, one manages to escape.
The mysterious swordsman, takes refuge inside the boat of a group dancing girls. The swordsman was the last bodyguard of China's famous General Qi Jiguang, who was able to defeat Japanese pirates by employing Japanese swords -- in elongated form -- against them. General Qi had not only improved the design of the Japanese sword, but also invented new fighting techniques with the weapon that permitted it to be employed as both a spear at a distance and as a knife in close combat. The mysterious swordsman teaches a single defensive move to Sailan, one of the dancing girl who works in the entertainment boat. From behind the curtain at the boat's entrance, she is able to repel the attack of the four schools' martial arts students one-by-one, who have mistaken her for a Japanese pirate. The technique the swordsman has taught Sailan is one of the highest form of martial arts, allowing a novice to consistently and repeatedly defeat a master with a single stroke. Just then, the legendary Qiu Dongyue returns. Once the town's number one martial arts master, he had fled to live in the mountains after discovering that his young wife had been having an affair with her personal bodyguard. Master Qiu is himself defeated by Sailan's bamboo pole and is carried off to the home of Master Qie, who has usurped Qiu as the town's number one master. But Qie has little sympathy for Qiu, and wants him to leave again so as not to challenge his position. While martial arts masters continue to gather at the boat, the swordsman attacks Qie's home.
By chance, Qiu's wife has also sneaked into Qie's residence to look for her husband. When the swordsman finds her, he teaches her yet another powerful martial arts move with which she can also defeat enemies with a single-stroke solely based on the position of their shadow. Martial arts masters now rush to Qie's residence in search of a second pirate. But Qiu's young wife is able to defeat all-comers one by one with the advanced technique that the mysterious swordsman has taught her. When the lover of his young wife arrives, Qiu schemes to have the couple killed at each other's hands. He sends the man to strike the supposed pirate with a deadly move that will assure their mutual death. At the last moment, however, he relents and saves them both. Wanting to prove his position as the town's number one martial artist, Qie approaches the dancers' boat, knowing that he can precisely locate the pirate's head from the angle of the protruding pole. But the swordsman returns, rearranges the pole formation and defeats Qie. Finally, with Qie unconscious, the four families accept defeat. In the alley of martial artists, the swordsman formally challenges Qiu Dongyue in combat. Although he is defeated by the old man, the swordsman proves the value of the long sword in the history of Chinese martial arts and is permitted to open his own school in the town.
DIRECTOR'S STATEMENT While this film is in the genre of the martial arts costume drama, at its heart it explores the question of whether acts of personal nobility can be repeated and sustained over a lifetime. In the spur of the moment, a person may do something very honourable and courageous. But he then may question his choice when he must pay the consequences of his noble action. I can see two possibilities at this point. One is that he will take an opposite course of action to try to gain back what he has lost as a result of his impulsiveness. Another possibility is that he will develop a deeper understanding of the motivation behind his initial action and transform what was "impulsive nobility" into long-lasting "rational nobility". There are three subplots within the movie that tackle this theme from three different perspectives. The first explores the idea that the person who comes up with an original concept is usually the first one to abandon it, to be free of it. The second explores my belief that success loses all of its satisfaction when one tries to achieve it by any means necessary. The third subplot explores the contradiction within people by which they will generally reject courses of action that will secure them the most benefit in the future. Since the film is in the genre of the martial arts film, it emphasises action and has a fast narrative rhythm. These themes that I want to explore are not presented directly to the audience, rather they are represented in the scenes of one confrontation after another. This physicality is what is on the surface of the film. However, martial arts contests are not only physical battles but also mental tournaments that set out to confirm moral values. As such, the film also has a series of "inner martial arts" tournaments that are presented to audience through the physical senses.
As for the design of the film's action, it differs from Hong Kong martial arts films in several ways. Firstly, it pays unusual attention to the notion of winning in a single burst of action, winning a competition in that single moment of movement. Secondly, it does not beautify violent action by borrowing acrobatic movements from the world of dance. Finally, it presents long-weapon fighting rather than the hand-to-hand Chinese boxing that is at the central to Hong Kong's kung fu cinema. In the film, weapons and their usage are accurately presented according to documents from the Ming Dynasty (1368-1644). Moreover, this historical knowledge is not presented as ornamental, but integrated into the story to always push it forward. Every scene in the film drives its narrative forward. Pushing back the fighting until the later part of the film naturally creates anticipation and suspense by the nature of the film's genre and audiences' expectations. Finally, the decision was made to shoot the film in a simple style, paying less attention to the finer details of production design. Simple shot setups were employed to present complex scenes. And diverse environments were presented by employing cinematographic effects, for example, creating different levels of spatial depth in different locations. I also chose to minimise the use of film editing, particularly in the scenes of action, so as to retain the full vibrancy of the moment. These captured moments are the heart of the film.
ABOUT THE FILM Xu Haofeng's The Sword Identity is a martial arts film set in 1604 in the late Ming Dynasty. One of its key achievements is its recreation of the real martial arts of the period, including the weapons and their style of use. It stands in sharp contrast to the stylised martial arts of recent blockbusters that take their inspiration from dance performance. It presents "hard-style" martial arts in which a fight is decided in a single flurry of action. The screenplay is based on one of the director's own novels. However, in the transition to the screen Xu transformed its characters, giving the film a completely new spiritual theme. Director Xu is a man with multiple identities himself. After graduating from the Beijing Film Academy's directing course in 1997, he worked as a drama director for the stage, a film critic and a Taoist scholar before turning to writing. His novels are credited with creating a new literary style within the martial arts genre. His first book, "Departed Warriors", introduced a documentary-style to martial arts literature in its historical account of three martial arts masters; his second, "Taoist Mountain", introduced colloquial language to the form which tore down the artifice of martial arts fiction. Xu himself is a practitioner of martial arts, belonging to the 101-year-old Zhonghua Wushihui. With Xu's unique position as a director, a writer, a scholar and a martial artist he is able to bring a unique vision to the genre on film. One before shooting the film, he conducted research into the weaponry of the period in ancient documents, recreating the weapons with moulds. Weapons -- and their authenticity -- play a crucial role in the film. Xu also ensured that their use in the film reflected historical reality. Combats in the film rely on outbursts of strength, like clay cups crashing into one another with victory decided in a single stroke. Xu even makes subtle mockery of other films' depiction of martial arts with two would-be fighters who prance around each other.
Regarding the cast, most are newcomers. One exception is famous martial artist Yu Chenghui, who plays the legendary martial artist Qiu Dongyue in the film, who comes down from his exile in the mountain to restore his place in history. Yu starred in The Shaolin Temple opposite Jet Li in 1982, a film which launched both their careers. Like Li, Yu is a real martial artist who has won major competitions in the sport. Within the film, although Qiu Dongyue is a living legend, he also struggles with his own internal doubts and emotional entanglements, just like ordinary people. The other cast members are primarily newcomers to film, having previously worked in theatre and television. Xu's intention for the film is that general audiences will find it entertaining whilst those interested in the history and psychology of real martial arts will find it informative. The film's return to the real nature of martial arts means that there are no special effects shot or spectacular stunts that are familiar from Hong Kong cinema. Xu stresses that Chinese martial arts films have their own historical origins that can also fascinate audiences and give them pleasure. Xu believes that his cinematic presentation of martial arts will create fresh sensations for audiences -- both viscerally and intellectually -- even if it takes some time for this radical departure from the norm to be accepted.
THE CHARACTERS Qiu Dongyue Years ago, Qiu was the number one martial arts master in Shuangye Town, the leading practitioner of all four martial arts schools in Wuyi Lane. However, many years ago he decided to go into self-imposed exile upon a mountain. The reason is deeply humiliating to Qiu: his young second wife was having an affair with a childhood sweetheart that lived under their same roof as her personal bodyguard. Not knowing how to handle his emotions, he left the world. When he hears that a Japanese pirate has arrived in Shuangye Town, he sees a possibility to return to the world, reclaim his legend and seek revenge on his wife and her lover. However, he also finds redemption. During the process of rediscovering his nobility, his fighting skills return to their previous brilliance and Qiu is once regarded as the town's number one master. His experience of loneliness, shame and cowardice helps his realise his inner chivalry and redeem himself. Qiu's role is performed by the legendary Yu Chenghui. Yu starred in The Shaolin Temple opposite Jet Li in 1982, a film which launched both their careers. Like Li, Yu is a real martial artist who has won major competitions in the sport. The Mysterious Swordsman Having served for many years in the military, the swordsman is a fierce patriot with a strong sense of justice. He served for many years in General Qi Jiquang's regiment, at the front line of battle against the constant invasion of Japanese pirates across China's southeastern coastline. To defeat the pirates, Qi designed his own variation of the fierce Japanese sword, giving it greater dexterity in battle. Qi also came to a realisation about the origins of the sword that the Japanese themselves had forgotten, with which he could train his troops more effectively. After Qi's death, his last bodyguard promised to maintain the glory of his regiment by bringing Qi's swordsmanship to ordinary people. To achieve his goal, he travels to Shuangye town together with the regiment's deputy
commander in the hope of opening his own martial arts school in legendary Wuyi Lane. However, on arrival, he is falsely accused himself of being a Japanese pirate. The key role of the handsome and daring mysterious swordsman is performed by Song Yang (b. 1983), a graduate from the Beijing Film Academy where he majored in acting. The Sword Identity is his debut feature film as an actor. Madame Qiu Born into a martial arts family, she obeyed the instructions of her parents and became the wife of the legendary martial artist Qiu Dongyue. Her family was unaware that she had already fallen in love with her male attendant Gan Gang who accompanied her to Shuangye town has her personal bodyguard. When her husband finally realises that his wife has been sleeping with another man, a man that she knew and loved long before she ever met him, he goes into self-imposed exile without confronting his wife or her lover. With the arrival of the mysterious swordsman in town, a suspected Japanese pirate, Qiu returns to the town for a last chance to restore his honour. The unresolved issues between husband and wife come to the fore. By the end of the film, there are also emotional sparks between Madame Qiu and the swordsman The complex role of Madame Qiu is performed by new actress Zhao Yuanyuan (b. 1989, Nanjing). Zhao has the added challenge of performing two roles in the film. She also acts as Tian Gai'e, a farmer's wife who like Madame Qiu plays a key role in Yu's redemption. Master Qie Qie was the number two martial artist in Shuangye town, never able to match Master Qiu Dongyue in physical combat. However, when Qiu disappeared many
years ago in mysterious circumstances, Qie was promoted to the prestigious position as master of the four schools of martial arts in Wuyi Lane. When the mysterious swordsman arrives, who is clearly a skilled martial artist that may even beat him in combat, Qie declares that the outsider is a Japanese pirate and orders his arrest. However, when Qiu is injured and the two old men finally have an honest conversation, Qie comes to realise that his constant scheming and plotting to secure his position has only damaged his martial arts. This leads to a life-changing revelation about what it means to be a martial artist. Yu's rival, Qie, is played by veteran actor Ma Jun (b. 1956), a Beijing native who has specialised in villains and other negative roles over a career spanning several decades. Sailan Sailan is a foreign dancer who has arrived in Shuangye town with three other working girls. She has no experience in martial arts, although she yearns to watch real fighting. When the mysterious swordsman arrives on her entertainment boat, he teaches her a martial arts technique with a bamboo pole that was developed by his own regiment in their fight against Japanese pirates. With a single stoke, from behind the entrance's curtain, she will be able to defeat even a master martial artist. Leaving her to battle the students of the four martial arts schools in his place, the swordsman is free to roam the town at night and plot how to free his colleague, the deputy commander of Qi's regiment who is being held captive by Master Qie. Among her many conquests with the bamboo pole, she also manages to win the heart of the handsome swordsman. Foreign dancing girl Sailan is played by Xu Fujing, a former model who is one-quarter French. The Sword Identity is her debut film as an actor.
ABOUT THE DIRECTOR Xu Haofeng is the most exciting author of martial arts literature to have emerged in China in the past decade. His one-man mission to restore the true meaning of martial arts has opened up a new era for China's best loved genre. Xu graduated from the directing department of the Beijing Film Academy in 1997. After graduation, he spent the next eight years privately studying Chinese martial arts, Taoism and Buddhism. In 2006, Xu's "Departed Warriors" brought a new philosophical depth to the martial arts novel. The narrative is structured around one's man's memoirs of his studies under three "Xing Yi Quan" kung fu masters. One year later, Xu cemented his reputation as an author with an authentic voice with the publication of his "Taoist Mountain", reinvigorating the genre with storytelling that introduced colloquial language to the form. Xu recently served as the martial arts consultant on Wong Kar-wai's The Grandmasters and is credited as one of the film's three screenwriters. Xu has come full circle and is himself now a professor at the Beijing Film Academy where he teaches film directing to a new generation of film students. The Sword Identity is his debut feature as a director.
INTERVIEW WITH THE DIRECTOR Q: You said that one of your objectives with this film is to restore the truth of martial arts. What do you mean by that? A: The so-called "truth" of martial arts is something kept secret by a group of martial arts families. But let us not be mysterious. In my film, the style of fighting can be traced back to the Ming and Qing dynasties. There are many different weapons, including the axe and the mace that aren't familiar in modern arts films. Q: You are also the writer of the film. Is it based on one of your novels? A: Yes, but the film is significantly different from the novel. The fates of the characters have been completely changed. The novel has irony and humour and ends with a huge act of destruction. The purpose of this violence is to create a space for self-reflection. And the purpose of self-reflection is not to cause upset but to discover a truth after making a path through the dust and fog that cloud our minds. This is so-called "self-realisation". In my martial arts film, I'm not concerned about indebtedness, one-upmanship or karma, I'm trying to tell the story of each character's self-discovery. Q: There are no stunts, no wirework, no fantastical effects. What do you want to show? A: I want to show the outburst of strength and speed in real martial arts. In most martial arts films, actors strike poses and their movements are speeded up in the editing process. In my film, in order to show real combative skills, actors purposefully move at speed. It may even be difficult to follow certain movements. This is what I wanted to achieve because it reflects reality. There are no special effects when you watch Michael Jordan play basketball. You just see someone
rushing forward. Even if do not understand how he passed the ball, you can still feel its awesomeness. In some films there may be more than 200 shots to capture a single scene. But for me, 30 shots are enough. I gave my actors the space to express themselves in a single take. My film has a real sense of time. The reality of the moment can make people breathless. Just having two people in a single shot can create something pure and simple. We always hear that a real martial artist can kill in a single motion, yet we never see that in the movies. I really admire He Ping's The Swordsman in Double-Flag Town. In the final scene of that film, the two men draw their swords and the wind starts to blow. In my film, you will see the final scene of combat and it will be decided in a single stroke. Q: What is your view on the contemporary martial arts film? A: Martial arts films should include more cultural aspects. We have to respect the audience more. These days, in many Hong Kong-style martial arts films, people wear ancient costumes but speak in modern-day language. This is absurd and doesn't take the audience far enough away from their everyday lives. Life needs the space for reflection and movies, like novels, have the opportunity to create that space. Sometimes it is better not to see things up close all the time, but to step back and see the reality from a distance. That is why America needs the genre of cowboy movies. And we Chinese need martial arts movies. Q: What is your next film? A: We're preparing a new film called Liu Baiyuan about an assassin in 1920s China. It's possible that I may make three movies about this interesting character. Each of the films will be based on my own novels. Once more, I will be both the screenwriter and the director.
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