Azn Badger's Blog

What About the Lysine Contingency…?

A Tribute to the Greatness that is Donnie Yen: Part V – All Hail Emperor Yen!

2005 was just the beginning of Mr. Yen’s newly established reign in Hong Kong action cinema.

... And he can pull off a skinny tie. Man, it's hella' not fair...

With the exception of 2009, Wilson Yip and Donnie Yen would continue to team up for a film every year after this, leading up to the present.

’06 brought us the forgettable and effects heavy comic book movie, Dragon Tiger Gate, within which Donnie Yen, a complex wire crew, and dozens of CGI artists banded together to make pop stars Nicholas Tse and Shawn Yue look like martial arts masters.

Behold: The Original Masters of Emo Fu.

The result was a film that wasn’t bad, just kind of bland.

To their credit, Nicholas Tse and Shawn Yue legitimately put some time into the fight work, coming across as competent action stars. In fact, both have remained impressive screen combatants ever since and are sincerely on my “good” list in regards to their performances.

2007, brought us Flash Point, a prequel to SPL.

Needless to say, as soon as the trailers started popping up online, I was psyched.

All the bad ass atmosphere of SPL with a new, brighter color palette, and the promise of even more bone-crunching fights.

Make no mistake though, between SPL and Flash Point, SPL is definitely the better film.

However that’s not to say Flash Point wasn’t special in it’s own right.

On the contrary, it was very special.

Flash Point had no less than 3 fight choreographers involved in the production. Donnie Yen, his longtime friend, John Salvitti, and Japanese choreographer Yuji Shimomura of Versus and Death Trance fame.

Together, the 3 constructed some of the most intense and skillfully crafted fight sequences ever seen, incorporating complex grappling and other MMA based techniques in the process.

The results were, as you can plainly see, magic:

Click here for awesomeness. (Sadly, you can’t plainly see, because the stupid link won’t embed.  Sorry!  I’ll try to get this fixed sometime down the road.)

The brutality of Donnie Yen and Collin Chou’s climactic balls-out, no hold’s barred throw down at the end of Flash Point is matched only by it’s beauty.

The choreography is intentionally “ugly”, with many of the movements and strikes being executed with a clear emphasis on displaying power and ferocity, as opposed to the more elegant motions found in traditional kung fu movies.

In addition to this, Donnie Yen and his crew managed to accomplish the seemingly impossible by incorporating grappling and holds while maintaining a constant level of energy throughout. Even though the action does in fact come to a stop during some of these moments, they never once break the rhythm of the fight.

In stark contrast to the hard-edged choreography, the cinematography throughout this sequence is smooth and focused. Combined with the bright greens of the background foliage, as well as the hanging glass bottle props, many of the crane shots are just plain breathtaking, in particular the one that kicks off the fight immediately after the fall from the roof.

Kudos to whoever managed to choreograph the camera work amid the various pillars and obstacles.

Flash Point was the movie that solidified Wilson Yip’s role as Donnie Yen’s go-to director, as well as cemented Mr. Yen’s position as the guy in Hong Kong action cinema.

But of course we knew that already now, didn’t we?

Check back for the second to last post in my MASSIVE tribute to Donnie Yen, “Part VI – Old Man Yen!”

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