Film Review Brotherhood of Blades (2014) by Yang Lu

According to the author Christopher Booker, in his 2004 book “The Seven Basic Plots: Why we tell stories”, there are only the several basic narratives. Of course they can veer off into various directions but fundamentally the main arc stays in place. With observing Toby Russell's excellent introduction to Hong Kong action documentary “Cinema of Vengeance” – it can be said that action cinema is even more singular than that. Action cinema is invariably about revenge with either the antagonist or protagonist ultimately seeking payback for some reason. Why do I mention this? Well over the last decade or so, period action cinema from China/Hong Kong has been rather production line. At one point, nearly every prestige swordplay feature would be a tale set around the three kingdoms. Familiarity can breed contempt and so does a story that is one we've seen before distract? “Brotherhood of Blades” is mercifully not a recycled three kingdoms adventure, but to quote “Beauty and the Beast” is indeed a tale as old as time. Personally, it is how the story is told that matters and good storytelling can make the familiar feel fresh.

Buy This Title

Three imperial assassins are sent to eliminate the former head of the secret police Eunuch Wei. One of them, Shen Lian is convinced by Wei to let his death be faked and is bribed to do so. Each of the three assassins have need of money. Shen Lian to redeem a prostitute he is in love with, Zhao Miao Tong. Jin Yi Chuan is being blackmailed and Lu Jianxing needs to bribe an official to get promotion. Wei's former subordinate Zhao Jingzhong attempts to play off both sides to secure his own position and needs to kill off the three assassins before the truth is revealed. Betrayal and tragedy ensue as ambitions and hopes are revealed to be false dreams and the only conclusion can be death

“Brotherhood of Blades” is nothing in terms of narrative that we have not seen on many an occasion. In some respects, it is how I would imagine a Shaw Brothers epic filmed in the modern era, which is no bad thing. What we get amidst the excellent choreography is a tragedy triggered by a moment of weakness paved with somewhat honourable intentions even if the action itself is corrupt. Our three protagonists are all afflicted by the need for financial gain, none of which ultimately occurs in the way anticipated, and invariably, results in destruction. It gives us three flawed “heroes”, an approach that humanises them, an important element given their positions as imperial assassins. It paints a picture of an overwhelmingly corrupted society where even honourable individuals succumb in order to survive.

Zhao Miao Tong is an interesting reflection to this and breaks free from the traditional story arc. Shen Lian is out to redeem her from the brothel she works at, but it transpires she never actually wanted him to do so as only showed interest because she was afraid of him. Their relationship does show change towards the climax, as she sees his emotional trauma from the consequences of his actions. Yet it is still left unclear by the film's conclusion.

Every good story needs a good villian and with Zhao Jingzhong and Wei we get the arch manipulator and over confident acolyte. Chin Shih-Chieh deservedly was an award winner for his performance as Wei. Despite his frailty, his mind is even more dangerous and knows how to get inside people's heads. In seeking to emulate his mentor, Zhao triggers the events of the second half of the feature, for as much his own continued survival as it is about elevating his position.

Chang Chen is a strong presence in the lead role as Shen Lian and gets some powerful scenes as events take their toll and the stern facade begins to crack. Quinyang Wang's Lu Jiangxing has an interesting paradox. Clearly a loyal servant but prepared to be involved in the corruption to achieve promotion. His failing is he just isn't good at it and like the others, his dream proves to be a false one when it comes. Dong-xue Li's Jin Yi Chuan is the more junior role, he has arguably the least to do in his story arc and is out-performed by his storyline brother Zhou Yiwei as Ding Xiu. Ding Xiu is another example of the strength in characterization this story possesses. Starting as an unrepentant blackmailer, he gets in his few scenes a more redemptive arc despite never really changing his personality. Liu Shishi brings a vulnerable beauty to Zhou Miao Tong. Her character has a few more shades to it other than the prostitute awaiting freedom. She proves to be an unwitting femme fatale as the story arcs link. What I particularly liked was how the character is portrayed. Like all the rest, she has an ambition that ultimately doesn't work in the way anticipated. Her manipulation of Shen Lian is through fear rather than desire.

The choreography of the action is clear and visually exciting. Like many of the last decades “epics” it forgoes the wire-led focus of earlier fantastical swordplay in favour of a more grounded approach. It's still heavily stylised but has a richness to the action that is sometimes missing in favour of more carnage. The cinematography by Han Qiming is exquisite. The film looks beautiful without turning into the hyper-reality of a Zhang Yimou feature.

The Ming dynasty setting gives it a different look to the usual three kingdoms piece which, again, allows it to stand out.The script provides depth to the characters and an involving narrative that is consistent whilst providing enough wrinkles to the traditional subterfuge/ revenge plot seen so many times.

This is a really good period piece. Excellent performances married to a strong story and visuals allow it to stand out from the pack. “Brotherhood of Blades” manages to keep the interest throughout. Mixing its themes of brotherhood (clue was in the title there!), corruption and tragedy with some outstanding set pieces. One of the best of the past decade and highly recommended.