IMDb RATING
7.4/10
3.6K
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When the children of an executed General are pursued in 1457 China, some heroic martial arts swordsmen intervene.When the children of an executed General are pursued in 1457 China, some heroic martial arts swordsmen intervene.When the children of an executed General are pursued in 1457 China, some heroic martial arts swordsmen intervene.
- Awards
- 1 win & 1 nomination
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- Writer
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaDirector King Hu encouraged his martial arts choreographers to draw from the alternately fluid and rhythmic movements of Chinese opera. Rather than resorting to fast or slow motion, footage printed backward, animation, or other early special-effects techniques, the filmmaker relied as much as possible on the actual skills of his performers and on the magic of editing.
- ConnectionsFeatured in Goodbye, Dragon Inn (2003)
Featured review
A total cinematic experience, not just a martial arts film
It's not quite as good as "A Touch of Zen," but "Dragon Inn" is a great film beloved by critics and fans alike. (At 111 minutes, it's also more accessible than "Zen," which is generally considered King Hu's masterpiece--but whose three-hour running time may seem daunting to the casual viewer.) Combining the legend and mythology of the Chinese swordfighter with a cinematic grandeur that could compete with anything being made in Europe or Japan at the time, its illustrious reputation is well-deserved.
Some martial arts movie fans have expressed disenchantment with the film's fight choreography, but one must bear in mind that "Dragon Inn" was made in 1967; it's hardly fair to judge it by the same standards as, say, a Jackie Chan flick. (Viewers expecting a martial confrontation every ten minutes probably *will* be disappointed, but they're missing the larger point. This is a film, not just a series of fight scenes strung together.) And the fact is that Han Ying-chieh's choreography is considerably more sophisticated--and more watchable--than the awkward clashes in "The One-Armed Swordsman," 1967's other major Chinese martial arts film. Han did an especially fine job of staging the final confrontation in a craggy mountain pass alternately shrouded in mist and flooded with dazzling sunlight. King Hu's careful selection of stunning outdoor locations and Hua Hui-ying's attentive cinematography also contributed significantly to the success of this scene.
Aficionados will note the film's long-term influence on Chinese martial arts cinema. From the obligatory white-haired villain (Pai Ying) to the young swordswoman (Shang-kuan Ling-feng) who disguises herself as a man, a number of the genre's conventions were established right here. Having said that, I think the critical adoration of King Hu at the expense of virtually every other Taiwanese director is unfortunate. Swordplay films like Joseph Kuo's "King of Kings" (see my IMDb review), Lin Fu-ti's "The Last Day of Hsianyang" (a remake of/variation on Akira Kurosawa's "The Hidden Fortress") and Pan Lei's "The Sword" (starring Wang Yu) are richly deserving of a critical reappraisal, as well.
Some martial arts movie fans have expressed disenchantment with the film's fight choreography, but one must bear in mind that "Dragon Inn" was made in 1967; it's hardly fair to judge it by the same standards as, say, a Jackie Chan flick. (Viewers expecting a martial confrontation every ten minutes probably *will* be disappointed, but they're missing the larger point. This is a film, not just a series of fight scenes strung together.) And the fact is that Han Ying-chieh's choreography is considerably more sophisticated--and more watchable--than the awkward clashes in "The One-Armed Swordsman," 1967's other major Chinese martial arts film. Han did an especially fine job of staging the final confrontation in a craggy mountain pass alternately shrouded in mist and flooded with dazzling sunlight. King Hu's careful selection of stunning outdoor locations and Hua Hui-ying's attentive cinematography also contributed significantly to the success of this scene.
Aficionados will note the film's long-term influence on Chinese martial arts cinema. From the obligatory white-haired villain (Pai Ying) to the young swordswoman (Shang-kuan Ling-feng) who disguises herself as a man, a number of the genre's conventions were established right here. Having said that, I think the critical adoration of King Hu at the expense of virtually every other Taiwanese director is unfortunate. Swordplay films like Joseph Kuo's "King of Kings" (see my IMDb review), Lin Fu-ti's "The Last Day of Hsianyang" (a remake of/variation on Akira Kurosawa's "The Hidden Fortress") and Pan Lei's "The Sword" (starring Wang Yu) are richly deserving of a critical reappraisal, as well.
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- InjunNose
- May 30, 2024
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Details
- Release date
- Countries of origin
- Language
- Also known as
- Die Herberge zum Drachentor
- Filming locations
- Production company
- See more company credits at IMDbPro
- Runtime1 hour 51 minutes
- Sound mix
- Aspect ratio
- 2.35 : 1
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