Ching Emperor Shin Tsu have fallen ill and he dispatches men to obtain a rare flower that can revive the dead or dying. At the Shin Fung mountain where the flower is located, there also is a swordsman guarding it, Master Cho (Leslie Cheung). He refuses to let the flower into the hands of the emperor's men and slays them all. That leads us into a flashback that tells the story of the forbidden love between him and Wolf Girl (Brigitte Lin). A love between two people destined to be enemies, set during the escalating battle between opposing clans and supernatural evil...

Up till this point in his career, Ronny had directed in a number of genres but it was with this breathtaking 1993 production that he really came into his own as a director capable of delivering something of epic proportions (and match Tsui Hark in the visuals department). Based on the Wuxia novel by Leung Yu-Sang, that isn't a fact that should make you skip this one if you're familiar with what Chu Yuan did with Gu Long's Wuxia novels at Shaw Brother's. They often included numerous characters and headache inducing plot twists but that's being faithful to the material. This adaptation (or original story even?) skips those aspects but keeps the staple story element about rival clans. There's certainly a fair amount of names to keep track of but when it comes to down to it, this adaptation is very easy to follow.

Just like my review of The Phantom Lover, we're going to focus on the filmmaking team around Ronny first, starting with cinematographer Peter Pau. Much has been said about Peter's superb skills in the field of cinematography and it's enough to say that what his eye captures is so much of what makes The Bride With White Hair a success. Clearly on a slightly limited budget, the scope ranges from restricted at first to some of the grandest you will ever see in a Hong Kong movie of this era. After Once Upon A Time In China came out in 1991, there was a rebirth of martial arts cinema but also period productions were becoming more common again. That had both its pros and cons but this production genuinely has the effort in it to justify the excess. Peter beautifully captures Eddie Ma's design work that isn't able to be shown in constant big, epic shots but even within a tighter frame there's a lot of detail to absorb. As I said, the budget dictated this to a degree but there exists simple solutions in here that registers as something bigger on film (the water fall set being a marvelous example of this). The movie switches gears in a big way during the second half and saves a lot of the best intentions to last. The finale is really where the money shows up on screen and you have to remember that Hong Kong cinema wasn't spoilt with big movies like this, in terms of cinematography, art direction and production design, at this time.

If there's one flaw in The Bride With White Hair it is the fact that it does get off to a slow start. Intentional perhaps but why complain when Ronny throws so much creativity and confidence up on the screen? Yes, the story elements are, at the core, basic but it's still a unique film of this era, much thanks to the pairing of Leslie Cheung and Brigitte Lin. There needs to be believability projected through acting as well as surrounding events and while there's no one big spoken reason for the attraction between these two, it works in its simplicity even better. Having actors like Leslie and Brigitte further cements the number one thing The Bride With White Hair needed to get right.

The movie's era, set at the end of the Ming dynasty with not only Manchurian forces roaming the country but also supernatural evil, is nothing short of astonishing in its portrayal. It's a world filled with darkness and very few light touches. That's another thing, Ronny and his team of screenwriters rightly chooses not to go for extensive comic relief (comedy can find a way into any Hong Kong movie, believe me). If it's there, it's for the story that also has an element of youthful innocence. While dark, the positivity resides between Leslie and Brigitte's characters, the souls who wants to break free of traditions and try and find their peaceful place in this world. It does become evident though that Ronny, after introducing the threat of the Manchu's, completely forgets about them. When looking back at it, choosing not to feature them prominently isn't a problem because an establishment of what other evil is out there is still effective. It just seems, during viewing, that their presence should've been felt more.

The action choreography by Phillip Kwok (Mad Dog from Hard Boiled and one of the Venom's) shown him not being very interested in throwing fight after fight at the viewer. The ones that are in there are staged in tune with the epic nature of the film but by employing step printing (creating a slow and grainy look), the fights never really makes an impact. What Phillip does provide is a big amount of wire-work showing characters, since this is a Wuxia adaptation after all, flying and performing physical feats out of this world. It's executed with a great sense of fluidity that isn't up there with the best of them but certainly a big part of the impact the movie has. Going back to the step printing, it celebrates triumphs when used for dramatic moments. The way it's slow but not slow motion definitely is absorbing when combined with the storytelling.

Leslie Cheung sadly committed suicide on April 1st 2003 and left behind him an impressive body of work, both in acting and singing. The always youthful Leslie made sure classics like A Better Tomorrow and A Chinese Ghost Story are not only remembered for their movie quality but for having striking theme songs to go along with them. When this movie started production he had actually retired from singing but was talked into creating a song for the closing moments of the film. On one condition; that it only would be heard in the film. Good way to lure people into the cinema but it was for an excellent film though. Leslie puts in a strong performance as well as showing a strong sense of belonging to the role of Cho. He's a playful character at first but someone we know is going to grow into a noble man. A noble man that thinks himself and is not willing to sacrifice his honor and pride to become what is expected of him within the clan. He shares similarities that way with Wolf Girl that is played by one of my absolute favourites, Brigitte Lin. It's the ageless beauty, the intense eyes, the sense of genuine tenderness that she in such a mesmerizing way shows when playing this character. You can't take your eyes off her. Few could equal the prowess Brigitte injected into some of her parts and she's always been the one actress that could wear the period outfits most gracefully.

Francis Ng and Elaine Lui are our villains, playing male/female Siamese twins. Wonderfully bizarre and Elaine Lui suitably acts over the top as the more decisive of the two while Francis plays the powerful yet weaker twin. It was one of his first big movie roles and it already shows that when he's trying (or even overacting), he's an assured presence. The twin special effect is executed via simple means throughout but the big reveal of the entire naked body is effective work by the effects department. Even border lining on eerie the way that it's shot. Francis also walks away with the best line from the movie, towards the very end.

The Bride With White Hair deserves all the accolades it has received over the years and is no doubt a great intro for anyone new to this genre of Hong Kong cinema. Dark, erotic with plenty of classic imagery, this is one you don't want to miss.

When the Bride falls in love with rival leader Yi-Hang, heir to the rival Chung Yuan Clan, she attempts to leave her evil master, but he wreaks deadly revenge by brutally slaughtering the leaders of the Chung Yuan. Ferocious with rage, the Bride sets out on her own savage quest for vengeance.

From Hong Kong director Ronny Yu ("Bride Of Chucky", "Warriors Of Virtue", "51st State") and featuring powerful performances from Brigitte Lin in the title role, "The Bride With White Hair" is packed full of spectacular stunts, special effects, imagination, and adventure.

REVIEW:
Long considered one of the definitive films of Hong Kong new wave, "The Bride with White Hair" is deservedly one of the most lavish, kinetic, and fantastic films you will ever see.

Brigitte Lin's long career reached a high point with her role as Lien Ni-chang, a woman driven to destructive rage by the forces surrounding her. Lin's electrifying performance is almost eerie in its completeness. She followed this role with the lesser sequel in which she still dominated the screen with her intense stare. Lin went on to play in a number of period roles, with her performance in "Ashes of Time" as another highlight. Leslie Chung is at once arrogant, distraught, and finally heartbroken. In fact, all the performances are masterfully played for the film. Behind the scenes, director Ronnie Yu, who produced the first two installments of the "Once Upon a Time in China" franchise also peaked on this film. The use of dramatic color and close-ups, coupled with a riveting story and exotic costumes gives the film a unique look that leaps out at the viewer. This is also thanks in part to the brilliant cinematography of Peter Pau ("Crouching Tiger, Hidden Dragon").

The story itself takes elements of classic Chinese fantasy and mythology and mixes it with a brooding modern narrative style. Cho Yi-hang is a sort of Hamlet like character haunted, not by a dead father but by a living one who wishes him to assume a role of the clan's leader, something Cho has no ambitions for. As we see Cho grow to adulthood, he becomes aware of the cruelty all around him. Everyone who has ever shown him kindness seems capable of killing with no regard. When he meets Lien Ni-chang, there is a connection beyond the material. Both individuals are out of touch with their people and their world. Yet, there is a stark difference. Lien remains wild and untamed, having grown up with wolves. It is the ultimate irony that Cho, the only truly remorseful character eventually drives Lien to lash out in a wildly hateful fury.

This is an impressive film with no discernable flaws. The action is intense, yet the story is well thought out and emotionally engaging. The production values are of the highest order, showing that even on a smaller budget, Hong Kong films can easily compete with Hollywood. Without a doubt, The Bride with White Hair is a genuine classic of the fantasy genre.

The film opens with Yi Hang (Leslie Cheung) living in exile at the top of a snowy mountain to protect an extremely rare flower with healing properties and woe betide anybody that tries to take it. The story is then told, in one big flashback, as to how Yi Hang ended up with his miserable existence.

A martial arts master, Yi Hang has been brought up in the Wu Tang society but rather than take up his position at the head of the society he would prefer to live a normal life. He falls in love with a beautiful warrioress after he sees her bathe not realising that she is a member of an evil cult (lead by brother and sister Siamese twins) and so is his natural enemy. Sadly theirs is a doomed love as the conflicts that surround them eventually tear them apart and they find themselves battling each other in the explosive finale.

'Bride With White Hair' is a beautiful piece of film making emphasising with every scene that cinema is a visual medium but without ever forgetting the importance of content. The film is actually quite erotic at times but its handled with subtlety rather than in a 'Sex and Zen' kind of way. The performances from everybody are excellent with Francis Ng making much of his role as one half of the evil Siamese twin villains.

Not really action packed the film plays more like a tragic love story until the frantic and bloody finish. The end sequence employs many of the 'new wave' kung fu techniques such as wirework and fast editing but there aren't many (or any) real martial arts sequences that allow the viewer to appreciate the skill of the actor. The emphasis here is definitely on flashy and stylish camerawork.

Fans of stylish movies such as 'A Chinese Ghost Story' and 'Saviour of the Soul' would find much to enjoy in this film.