"Shi Mian Mai Fu (House of Flying Daggers)" directed by Zhang Yimou (2004)

**** (out of five stars)

I've long been a fan of the so-called Fifth Generation filmmakers of China. The most prominent of these directors is, without a doubt, Zhang Yimou. His 1997 directoral debut, "Hong Gao Liang (Red Sorghum)" is probably my favorite Chinese film and, sadly, is unavailable on DVD in this country. He's had plenty of subsequent success with films like "Da Hong Deng Long Gao Gau Gua (Raise the Red Lantern)" and last year's surprise box office hit "Ying Xiong (Hero)." I loved "Red Lantern" but was only lukewarm on "Hero." The reason, most likely, is my long-running distaste for most martial arts films.

Make no mistake, though, "House of Flying Daggers" is a martial arts film. But it's a martial arts film like no other. The fight scenes, unlike those of "Hero," don't pack a lot of menace. Instead they feel like a gorgeously choreographed ballet. The film, quite frankly, is one of the most luscious pieces of work ever to grace the cinema. The cinematography, sound design, art direction and set pieces are literally breathtaking. It's a film that's truly a feast for the eyes and ears. I found myself audibly gasping on more than one occasion.

"Flying Daggers" doesn't rely on the sometimes heavy-handed color schemes of "Hero." Instead, it uses a palette of constantly changing hues. The early scenes are so dark that it's some time before you realize that the governmental uniforms are a dark tint of green. While our protagonists are on the run the forest is awash with warm beiges. The epic battle in the bamboo forest is tinted an almost fluorescent green. The autumnal colors of New England (which were actually filmed in Ukraine) fade suddenly to a whitewashing blizzard in the final confrontation.

The plot really is secondary in this grand visage. The thinly plotted love triangle would sink lesser films. There's really nothing remarkable about it whatsoever. However, it only removes one star from "House of Flying Daggers." It's full of silly moments, over-the-top emoting and reality suspending flourishes. It doesn't matter, though. It's a tall tale wrapped in glorious eye candy.

A good portion of that eye candy is provided by the almost painfully beautiful Zhang Ziyi. Her love scenes with Takeshi Kaneshiro are quite simply scorching. Zhang Yimou shoots his characters in close-up more than most directors and, in this case, the chemistry between his actors is feels almost palpable.

I really think this film could prove to be a hit on par with Ang Lee's "Crouching Tiger, Hidden Dragon." It's probably a lesser film if only for the light script. It certainly, though, is an unforgettable cinematic experience.