His parents, along with the rest of the rural village he lived in, where killed by an unknown force, and for the past decade he’s supposedly been learning martial arts, while in reality he’s little more than the sects resident cook. The leader of Chinese boyband X Nine, Sean Xiao, plays an orphan who was adopted by a martial arts sect 10 years ago. Lucky for us Jade Dynasty itself is planned as a franchise (the Chinese title includes the number 1, indicating the same), and while it’s not unheard of for HK filmmakers to cram in several novels worth of story into one movie with brain melting results (check out The Dragon Chronicles: The Maidens of Heavenly Mountain), the plot for the 100 minutes presented here is at least comprehendible.
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In fairness, it is for the first time for the big screen, but the honours for the debut adaptation go to The Legend of Chusen, a TV series that was shown across 2 seasons in 20 (currently a 3rd season is on the way). Jade Dynasty is based on an eight-part novel series by author Xiao Ding, and as with so many wuxia novels, this isn’t the first time for it to be adapted for the screen. So the burning question is, will his return to the familiar world of wuxia be one which sets him up for success? It’s always a concern when a director hasn’t worked for so long that rust may have set in, and while Siu-Tung usually keeps himself busy as an action choreographer when he’s not directing, with the exception of the critically mauled 2013 Bollywood sequel Krrish 3, this time he’s been out of the spotlight all together. Siu-Tung’s foray into CGI spectacle was an expensive failure, and it would take him 8 years before he’d step into the role of director again, helming the 2019 wuxia adaptation Jade Dynasty.
In an era that was defined by how many ugly looking CGI fantasy spectacles were being churned out by Mainland China, The Sorcerer and the White Snake is often considered to be the ugliest. Not content with staining Yen’s filmography, in 2011 Siu-Tung directed Jet Li in The Sorcerer and the White Snake. When he returned, it was to make An Empress and the Warriors, the movie that many consider to be the first blip in Donnie Yen’s filmography after his resurgence in 2005 following Sha Po Lang. After the riotously fun Conman in Tokyo in 2000, the guilty pleasure (at least for me) of 2002’s Naked Weapon, and the 2003 Steven Seagal vehicle Belly of the Beast, it’d be another 5 years before he directed again.
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That era of Hong Kong cinema may be gone, however I confess that when Siu-Tung’s name is attached to a movie, I still get excited about it.Īdmittedly as a director the post-millennium world hasn’t exactly been full of highlights. Siu-Tung’s distinctive choreography style of the era, defined by its bombastic wife-fu infused set pieces, can be found in the likes of New Dragon Inn, Holy Weapon, and Butterfly and Sword, as well as in the movies he sat in the director’s chair for himself, such as the Swordsman and Chinese Ghost Story trilogies. The hyper-kinetic action and billowing silk of the early 90’s new wave wuxia genre may be a long time ago, but one of the directors whose name is indelibly linked with it is thankfully still around – Ching Siu-Tung.
Cast: Sean Xiao, Li Qin, Meng Mei Qi, Tina Tang, Qiu Xin Zhi, Cecilia Yip, John Chiang, Norman Tsui, Leung Kar-Yan, Hung Yan-Yan, Bao Xiaosong, Chen Liwei, Li Shen
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