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As anticipated, the film, similar to its predecessor "Hero", is rich in visual and acoustic aesthetics. The story is simple and the plot line is linear, rendering a straight narrative structure that does not contain any flash back or flash forward. The whole film proceeds very slowly. The range of information the earlier plots disseminate is restricted as the viewer does not know the genuine identity of the main protagonists. Along this line, the most attractive elements that escalate the attention of the viewer are the 3 motifs of (1) real or unreal (both identity of and love among the 3 main characters); (2) escape and catch; and (3) flying daggers (as a weapon to save and kill).

Director Zhang Yimou imitates the Tam Tan style drum beat and makes it diegetic by having the sources (drums) brought into mise-en-scene. Once again Zhang uses juxtaposition of sound elements (used in "Hero") in many fighting scenes but in a subtle way without any prolongation this time.

Like many classical movies of ancient swordsman martial arts, the film resorts to the use of expansion of time by intensive use of slow motion to enhance the degree of aesthetics in staging and manufacture impressive visual images. This is fabricated with the deliberately manipulated mixes of colours in mise-en-scenes and a multiplicity of visual parallels (especially scenes of the 3 main protagonists). Deep space staging is adopted in the earlier sequence of Mei's (Zhang Ziyi) dancing. As the focus is on the 3 protagonists, most mise-en-scenes in the film are sparse, with only 1 or 2 characters in the frame.

Narrative and visual wise, Zhang also establishes a visual reversal to disclose (and emphasize as well) the intimate relations between Liu and Mei (i.e., Liu (Andy Lau) triggers nuts and Mei hits the drums with her long sleeves in the porn house at the beginning sequence whereas Mei triggers nuts and Liu hits the trees in the bamboo forest with his daggers in a later sequence).

This product is a blended variation of some other films: the misery of identity in "Infernal Affairs" other than the impressive visuals in "Hero". Nevertheless, it seems that the viewers are more eager to watch the visual aesthetics than to admire the narrative or the theme of Zhang's story telling since his "Hero".

註：本評論純屬影評作者個人意見，並不代表本網立場。
Note: This views presented in this review is solely the views of the critic who wrote it and do not represent the stance of our website.

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