CROUCHING TIGER, HIDDEN DRAGON

 

THREE STARS - ENLIGHTENING

 

 

               The nature of cinema is to explore the depth of the culture out of which it comes.   This exploration often questions the values, faith and beliefs inherent within its people.   When done with respect and integrity, such exploration can be a vehicle for change as characters are able to step outside of conventions and traditions to discuss the implications of cultural beliefs.  This is true of the Chinese film, “Crouching Tiger, Hidden Dragon.”

               Based on the book by Du Lu Wang, Director Ang Lee creates a masterpiece of visual mythology, martial arts and philosophical speculation.   Though it is tempting to focus on the gracefully choreographed martial arts scenes which punctuate this romantic tale, its significance rests in its unrelenting questioning of Chinese cultural and religious beliefs.

               This is shown in the opening scenes when Li Mu Bai (Yun-Fat Chow) comes back from his mountain monastery where he has had an unnerving spiritual experience.  Seeking the enlightenment his Buddhist faith has promised, the mighty warrior and monk experiences a meditative moment in which he is surrounded by light.  But when asked if he found “enlightenment,” he unexpectedly answers, “No.  I was overwhelmed with unending sorrow.”

               This answer is confusing.  Buddhism teaches that the first of the Four Noble Truths is that life is suffering.  Enlightenment has been promised when one truly experiences that truth and realizes that all of life, including the suffering, is an illusion.  Thus we suffer because we crave the experiences of this world with all its loves and pleasures, and if we learn to empty ourselves of such desires through meditation, then we will no longer suffer.

               For the hero in this film to question the ultimate experience of Enlightenment and instead leave the monastery and return to the woman he has long desired, Shu Lien (Michelle Yeoh), reveals that the film is questioning whether Love or Enlightenment is the goal of life.  This is a powerful cultural statement and shows the impact that the Western Christian world is having on the Chinese people. 

               The Christian teaching that Love rather than emptiness is the goal of life is explored throughout the film.  In one vulnerable moment, when Li Mu Bai states that his master has taught him that all of life is illusion, his lover, Shu Lien, lovingly touches him and proclaims that her hand is real and not an illusion.  At the end of the film, when Shu Lien regrets the choices she and Li Mu Bai made in honoring tradition and the celibate life, she tells her young friend to Òbe true to your self,Ó a clearly Western belief.

               The film not only questions the traditional teachings of Buddhism, but also the traditional cultural norm of male-domination.  Though Li Mu Bai is the undisputed hero of the film, the other three leading characters are all women:  women of exceptional courage, ability and depth. 

               The prime example of this is the complex character of the young and beautiful Jen Yu (Zhang Ziyi).  Having been discipled by the villainous Jade Fox (Pei-pei Cheng), Jen Yu travels a tumultuous road in which her love and courage are ultimately expressed in her willingness to give herself completely to achieve the ultimate fulfillment of her love.

               Far beyond its visual feast, this film speaks to the souls of people from both the East and the West in our mutual desire to find the answer to our deepest questions in life.

              

 

(570 words)

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