User Reviews (14)

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  • This is the original of the 1992 remake of the same title(with a NEW) and 2nd of the "INN" trilogy by King Hu after Come Drink With Me. It was a major hit all over Chinese areas in South East Asia and discovered Shang Kuan Ling Feng(note the mistake by a previous comment)as the 2nd most popular Sword woman(the 1st was Cheng Pei Pei, and later 3rd Hsu Feng(Hsia Nu aka A Touch of Zen). All these 3 females stars are made popular by him and they are also the 3 most popular swords women in Chinese Cinema.

    If there is any complaint by any viewer, it's the pace that many may find it a bit slow but isn't most highly regarded movies slow ?? The finale scene is the most climatic in a Chinese action that critc compared this film to "Rio Bravo" and "The Wild Bunch".

    Beware of some mistakes in the original English subtitles mentioned by the director himself.

    You can watch some scenes of it if you go to the movie Bu San(2003) aka Goodbye, Dragon Inn(here in IMDb and watch the trailer) which paid tribute to this movie.

    The 90's remake is nothing better except for an additional character well acted by Maggie Cheung.
  • I saw this during its initial run under the title "Dragon Inn."

    This is no ordinary swordplay movie. It is a visual treat of ancient Chinese costumes and weaponry. The traditional Chinese instruments used for the background music added an otherwordly flavor. I left the theatre wondering if the movie was truly historical.

    The head of the Yu clan has been condemned to death by the evil prime minister who has usurped imperial power. A palace eunuch who managed to claw his way to power, he is also reputed to be China's greatest swordsman. He plots to eliminate the entire Yu family but is opposed by a master swordsman and swordswoman.

    A memorable scene that has nothing to do with fighting is the dinner at Dragon Inn which introduced me to the Mongolian Fire Pot (shabu-shabu) style of eating. To the uninitiated, there is a fire pot in the middle of the table decked out with all sorts of raw food which you put into the boiling water of the firepot and eat them as they are cooked. The cooking water is sipped as soup.

    I took my little sister to see it and from then on she got hooked on Chinese swordplay movies. She began reading up on ancient China and in college she majored in history and archaeology -- all because I took her to see Dragon Inn.

    I am gratified to learn recently that the female supporting actress Feng Hsu moved on to become a producer-director herself with a number of critically acclaimed films to her credit. I look forward to seeing them soon.
  • I saw this film in the 60's, and have yet to find one to beat it. 'Hidden Dragon, Crouching Tiger' has to come in behind this masterpiece. The use of new actors and actresses, the adoption of well-timed traditional Chinese music, e.g. to usher in the villain, the innovative action sequence in sword fights, all added to the brilliance of this film.

    Yes, there are shortcomings. Toward the end, and the climax, the anti-gravity leaps to the trees were overdone and unnecessary. Regardless, this film resembles the best of the traditional, addictive Chinese martial art novels that once consumed many hours of the armchair martial art addicts.
  • There are some movies that stick by you over the years and this Chinese swords movie from the middle sixties is one of them.

    King Hu's Dragon Gate Inn has all the ingredients in it to make this movie a classic. Not only does it have good swords fights and combines these with an excellent story and plot but on a more subtle level the background music adds a really good atmosphere to it that draws you even more into the movie and story.

    I can recommend this movie for anyone who is interested in Chinese film in general and anyone who is interested in Chinese swords movies with a good story and plot.

    10 out of 10 points from me.
  • A must see swordplay film, probably the best of its kind ever made. The director, King Hu, is the master of tension and suspense and holds the viewer's attention throughout. I cannot rate this fim highly enough. If only it were more readily available.
  • Warning: Spoilers
    I watched this film at a university club for foreign students in 1970, more-or-less by accident. I was awestruck, and the people who saw it with me discussed it for days after. Decades later, when I joined a group to see the acclaimed new film, "Crouching Tiger, Hidden Dragon," I confounded my friends by muttering "Seen that," "Old hat," and "I thought this film was supposed to be ground-breaking?" at intervals throughout. I'd kill to have a DVD of the 1966 film. It was a great introduction to Chinese martial arts movies and their conventions (e.g., the traditional inn-wrecking scene). The humor of the scene where all these tough, hard-bitten warriors suddenly hold an impromptu psychoanalytical intervention for their most introverted member still makes me grin. If you get a chance, see it!
  • osloj18 September 2018
    Warning: Spoilers
    *** This review may contain spoilers ***

    *Plot analyzed*

    Dragon Inn (1967) is a highly overrated film. There's a few things to like in it, such as the cast of weird characters, the desert of the setting, and the lush color. Other than that, it rambles on with too much tedious monologue.

    There is also an annoying female who chops up swordsmen with ease. The fight choreography is average, inviting scrutiny. It doesn't sit well that they defeat an entourage of guards.

    Still, it's worth a look.
  • This an absorbing and beautiful wuxia film, and an outstanding film regardless of genre. It's rare to find a true 10/10 film, but it's a score that doesn't do this film justice.

    The way the plot has been scripted and edited is sublime. The acting and direction is superb. The action choreography is spectacular.

    If you have a couple of free hours, I could not recommend enough that you spend them watching this film. I hope you finish it feeling the same inordinate amount of joy that I did.
  • I speculate that King Hu must have left Shaw Brothers with a bad taste in his mouth after doing "Come Drink With Me". "Come Drink with Me" is also one of the greatest martial arts movies despite having room for improvement. This movie feels to me like King Hu made those improvements in it. I consider this his is his masterpiece. I compare it to the movies of Akira Kurosawa. Too bad that King Hu was nowhere near as prolific. This movie could even be considered his one hit wonder.

    King Hu seemed to realize the claustrophobic situation of of the good guys and bad guys face to face in the Dragon Inn was great drama but it had to be contrasted with as much wide open space as possible. In "Dragon Inn" most scenes outside the inn are shot in expansive panoramas. Like Kurosawa, King Hu appreciated the way moving the camera brought the audience into the scene. He used tracking shots, particularly during fight sequences, to get this feeling.

    Hang Ying-Chieh gets credit as action coordinator. He was the Big Boss in Bruce Lee's "The Big Boss". Remember when Bruce is cut, wipes off his blood then tastes it? Hang Ying-Chieh does the same here. The sword fights are Japanese style - starting with a suspenseful face off, then a sudden attack to cover the distance, just a few quick strokes of action, then stop and wait a few seconds to feel the results. A real sword cut is initially almost painless so the person cut doesn't know until he sees the effect of the cut.

    I rate this as one of the best of 1967 and I recommend it to everyone - not just fans of the genre - to everyone.
  • Warning: Spoilers
    "Long men kezhan", internationally known as "Dragon Inn" is a co-production between Taiwan and Hong Kong from 1967, so this one is already over half a century old and it is in the Mandarin language. The director is King Hu, who was still in his 30s when he made this one, also wrote it, and I read he is considered as one of the defining directors nowadays when it comes to old Eastern films. It needs to be said that this is a color film, not too uncommon for Asian movies from that time, probably more common than for most other regions in the world. And if you look at the film's rating, the number of votes, and also how much it is appreciated on other websites and how remakes and sequels have been made or just new films inspired by this one, you can see that it is very popular today, almost considered a mini classic. It runs for 110 minutes and takes place several centuries in the past. The story is relatively simple you could say. It is a fairly political movie, even if it may not seem like that to the untrained eye. We have the two children of an influential dead general and they are told to pass by the location in the (English) title and this is where a big group of soldiers/assassins awaits them in order to execute them. However, it won't be a piece of cake mission because a ruthless (seems so kind and friendly) martial artist arrives before the two children and add to that a sibling duo that is not too unskilled either also awaits there and all three of them have in mind to lead the two sons to safety and exile before they can get killed. Also the innkeeper is part of the resistance team, so it is these 4 people basically against the rest you could say. Good enough for close to two hours? Very much so I would say. I enjoyed the watch for sure. I must say it did take me a little while to get interested, but the moment the guy in white enters the inn/movie, it is pretty fun most of the time, also had me occasionally on the edge of my seat. I mean the outcome is slightly predictable and there are little to no shades in the characters in terms of good and evil, but that rarely feels like a problem. My guess early on was that the young sister and the guy in white would be the only two surviving from this quartet and it turns out I wasn't entirely wrong. But it is somewhat good and realistic that sacrifices had to be made. With these two surviving ones, I also felt it was to include a minor love story that is really only just referenced extremely vaguely.

    Okay, when at some point the bad guys from the inn are all killed, the action moves forward to the headquarter of the eastern forces, the bad guys. And one bad guy in particular of course, the one with the very light blonde hair. Usually it is not a good sign if several fighters approach one for the several guys (and we saw that with everybody who tried to kill the guy in white earlier), but here it is the spectacular end fight sequence in which we learn that the super bad guy is capable of a very unique fighting technique that he uses to fight (and kill) some of the good guys near the end. I liked it. It was almost a bit of a pity that he had no screen time before that really. He sure was interesting enough to be featured in other scenes. I would also like to say that the eunuch references about him are the only attempts at comedy really. And I am not even sure if they should be seen as that. Of course, they were gigantic degrees of humiliation for the bad guy and maybe completely unfunny int he 1960s. Also a bit edgy for the guy in white to constantly mock his opponent with the general's kids who went through the same painful measure and clearly it is still very much in their heads. But for the audience it was entertaining, no denying. Stuff like you need to watch what you got up there if you have nothing down there. Very vague quote from me now. Other (considered today) slightly funny sequences include some of the earlier martial artis fight in the Dragon Inn and how quickly the guy in white fights back at those trying to kill him and how precise he is. Yeah well it does not feel too realistic, but it is pretty cool and funny and that is why the film is probably getting away with it. The characters are all interesting, which is really important here, as even if the story and fight sequences are key, this would not have been a good film without strong casting and decent performances. And boy, Polly Ling-Feng Shang-Kuan is a cutie easily showing that there are no extremely beautiful Asian women outside Japan is nonsense. Am I even allowed to say this? She was like 17 when this film was made, but seemed a bit older for sure. With that very heterosexual statement I am almost done. Another kinda memorable aspect here is the ending, which even if the fight is over after a very memorable way of suicide and somebody losing his head in the truest sense of the word felt a bit surprising with how quickly it happened and very abrupt. But I think that was not uncommon for Asian martial arts films from that era at all and as we see the victors wander off, the credits roll in. It somehow fits. Go watch this one. I can somehow see how many people include this in their Top10 films from this genre. The beginning was a bit slow, but then it moved back and forth between good and great, so no hesitation for me in giving this one a thumbs-up. Go check it out.
  • It's China in the year 1547. A minister has been executed and his two younger children sent into exile ... officially. The Eunuchs in charge and the bad boys of the Eastern Gate intend to kill them at the Dragon Inn on the border. As they move, however, an assortment of skilled swordsmen (and one swordswoman) show up at the Inn...

    King Hu's martial arts movie has nasty villains, loner heroes, magnificent wide-screen Eastmancolor images (restored in 2013) and all sorts of crazy fight sequences in a dazzling array. There seem to be a few plot holes (people keep pausing in their fighting to talk), but that may be a matter of the standards of the Taiwanese cinema as opposed to my more western ideas. What strikes me in the storytelling technique is that the film maker seems to have seen and been influenced by the Man With No Name" trilogy, or at least YOJIMBO and SANJURO, drawing the same conclusions about cinema that Leone had. Chun Shin's character enters the Inn and encounters the agents of the Eastern Gate with the same wry, skilled, deadly sense of humor that Eastwood showed in his performances.

    I'm not familiar with Taiwanese film-making of this era and genre. My experience has tended toward the Hong Kong offerings, with an emphasis on the Jacky Chan and Stephen Chow comedies. This is a very impressive introduction to the style and to King Hu
  • Every die hard fan of a martial arts film MUST watch this. Subtle like a Ninja and bold like a Samurai. Bravo! 10/10

    P.S: The title of my review are just two among many that drew inspiration from this film.
  • Terrible acting by all of the cast and terrible dialog albeit mediocre directing. The reason why this first "Dragon Inn" is quite famous and popular is because it's the earliest break-through of the Taiwanese martial arts and swordsmanship that was in a newer method to shoot a action movie by Taiwanese movie maker. But if by the standard of the up to date technique, it's very primitive and borderline shallow. The fighting scenes are so awkward and raw, showing strongly unnatural, poor and rigid prearranged fighting scenes, so awkward and even childish by today's standard. The acting, the make-up, the costumes all looked quite shallow, the dialog was even worse. But the English subtitles were translated pretty correct and appropriate, matching well with the Chinese language. This is a quite mediocre Taiwanese product with very poor directing and acting. It's a classic and even a cult-like Chinese swordsmanship movie, but if compare with the Japanese samurai films by the Japanese screenplay writers, their directors and the performances of the Japanese actors, this "Dragon Inn" simply looked like a child play, but if compare it with those ridiculous swordsmen and martial arts movies produced by the "Shaw Brothers" later, it still looked better.
  • Warning: Spoilers
    The movie first came to my attention because Grady Hendrix did a commentary track on the Criterion release, and Mr. Hendrix is a friend of a friend of mine. I've met him a couple of times, read most of his books, and find him quite the entertaining fellow. So, when I found out that he had gone so far as to record his appreciation for the film on such a prestige label as Criterion, I just had to check out King Hu's film.

    Which I, of course, did. And I was left a bit perplexed. I found the film okay, but nothing particularly special. I suppose it was about the time of Xiao's big scene where he shows off how much of a badass that he is that I kind of tuned out a bit. It's not that badassery disinterests me, it's that badassery on its own feels boring to me. Yeah, he's awesome at everything he does. These days, that could be referred to as a Mary Sue. And Xiao isn't the only one. He gets paired up with a brother and sister team and an old Chinese general, and they're all just awesome badasses. And the bad guys are awesome badasses. There didn't seem to be a real character amongst them.

    So, confused at the perceived disconnect between my own opinion and those obvious from the critics listed on the movie's Metacritic page, I found the essay commissioned by Criterion written by Andrew Chan for their disc release of the film. And in that essay, the author admits fully that the characters are thin, the plot threadbare, and themes almost nonexistent. Instead, the film is meant to be appreciated from a purely aesthetic level. And, I'll admit it, the movie looks good (the print itself is fantastically restored). Hu obviously has a strong eye and can fill a frame artfully, but it all felt so artificial to me.

    On top of that, the action felt, at times, to be rather amateurish. I don't think it reflects on the skill of the choreographers involved, but simply on the reality that it's hard to convincingly create fights where one person successfully takes on 5 or 6 others. Surrounded, someone should be able to stab the lone individual in the back easily, and I kept seeing opportunities for it, which took me out of the moment. Take, for instance, the long sequence that introduces Xiao's badassery. There's a moment where he takes his full bowl of noodles and flings them across the room where they land without having spilt a drop right in front of someone else. The idea is kind of cool, but the execution doesn't really convince me of the moment's reality. It's cut too quickly from Xiao throwing the bowl to it sailing in the air to it spinning into place. I don't get the sense that the character of Xiao actually did the deed because of how quickly it's thrown together. I would have been more convinced with a long shot that held through the whole action.

    I don't know, but I just felt like the movie is akin to a B-movie well done instead of something that deserves high praise.