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There was a time in Indian cinema when no brains like Jigar was deemed as entertainment, thankfully the eighties are no more when screen violence had no reason, and men saw rape as a joy to view on screen. Still it mange to create curiosity with the then newcomer Ajay Devgan, who starred in the blockbuster Phool Aur Kannte (1990), and who was gaining stardom as an action hero. How much has changed from the past to what he is currently, a talented actor with quality films like Zakham (1998) and Hum Dil De Chuke Sanam (1999) behind him.

The soundtrack of this film was quite a big seller and made the once S-Series record label, owned by producer Salim, quite successful for a short period of time. He even produced some decent movies like Phool Aur Angarrey (1992), and Bazzi (1993).

The film's main characters are the fight sequences that seem poorly executed and rushed. The choreography is somewhat dull and lacks what other excellent king-f films have in its pacing, editing and cinematography. It even goes to borrow scenes from numerous classic Jackie Chan films like Snake in the Eagle Shadow and Drunken Master. The performances from the entire cast are hammy and off-key, but that is expected for a movie of this genre. The romantic elements do take up most of the film time and some trimming could have been done. Technical values are average and now are appearing rather dated.

The plot is reminiscent to numerous Cantonese films that are within the king-f genre, and like films of this genre Jigar is gaining a cult like status with video rentals and satellite showings. It might not be one people are planning to watch but when it's on you can't help but watch along. It's what I like to call the "Mithun Syndrome" (see below to further understand what is meant by this term). You really don't get anything out of this feature; it's not even a time pass film but the Mithun Syndrome is quite high on this feature.

Mithun Syndrome = when you wouldn't rent that film, but when its on the screen you follow what is occurring with a strange willing to compromise and be contempt with whatever the film shows.

Rajshri continued to produced wonderful and memorable flicks like Tapasya (1976 Dir. Anil Ganguly), Chit Chor (1976 Dir. Basu Chatterjee), Ankhiyon Ke Jharokhon Se (1978 Dir. Hiren Nag), Sunayana (1979 Dir. Hiren Nag), Humkadam(1980 Dir. Anil Ganguly), Naiyya (1980 Dir. Prashant Nanda), Saaransh(1984 Dir. Mahesh Bhatt) & Abodh (1984 Dir. Hiren Nag).

Most of these films presently now have more weaknesses then strengths. But at the time of their release, and when I viewed them during the 1980's, these films were very different in style and tone from the rest of conventional Hindi cinema. It is these films that help inspire forthcoming filmmakers, and innovate the bland Hindi cinema which is predictable and not satisfying.

While most of their production remains quite unknown to many audiences, since their films was mostly consistent of new cast and production crew (making them really experimental at times), their last three production has become the most popular films ever in the history of Indian cinema. The films Maine Pyar Kiya (1989), Hum Aapke Hain Koun (1994) & Hum Saath - Saath Hain (1999) had broken box-office records around the world. All three movies was directed by Rajshri in-house director Sooraj B. Barjatya.

The films each have a social message which looks at each stage of life....youth/love, love/marriage & family values. While I loved his first two movies, his present one was very disappointing as it falls behind by being too overly melodramatic, which at times become rather ambiguous to the whole setting and nature of the film.

The first half hour feels like a theater production when all the characters enter the stage with their own mannerisms and characteristics. While this part has been handled well, I fail to understand why the need for so many characters. I was totally lost when all the secondary characters just entered the house (without a doorbell?) and made themselves feel too much at home. This creates an unease in the overall flow of the film. Maybe its just me, but I do feel that too much escapism was wrong at the start as it becomes too demanding on our part to make believe.

Rather then break Hindi film conventions, which all Rajshri films have done in nearly all of their releases, Hum Saath - Saath Hain continues the trend set by Hum Aapke Hain Koun of an upper class family having functions, outings, businesses, and a big house. This in my view has been looked upon once too often, and seems rather tiring and predictable. This contrasted with what the director did for his first directorial debut Maine Pyar Kiya which, in 1989, resorted Hindi cinema back to the romantic genre for the 1990's. This helped the romantic genre become a profitable and popular format after one decade of violence and patriotism films.

Planning of shots, art direction and performances are well executed. This shows how the director is very structured in what he wants to be visually shown on screen. But while the visuals are pleasing the overall plot, which is reminiscent of a modern day Ramayan, seems to be rather outdated. It is nice to see togetherness in a family but his concept was way over premising. It kept most of Ramayan philosophy into the plot rather then to fuse/innovate it with modern day influx of westernization which has taken over India with the advent of satellite television and of commercialism of products. Thus the film is not as up to date with today's audience.

Another weakness detected in the film is the poor song score, which is also not in touch with audiences expectations. While the lyrics are very touching and heart warming (especially in the song 'Yeh To Such Hain' which is a dedication to parents), the music doesn't merit the soundtrack to be listened to on its own. Its decent enough while viewing the film, as both are suited as it twins well. However it lacks the soulful melodies heard in present films like Taal (1999). I presume due to the death of one of the music director it has impacted on the working technique once presented in the duo Raam - Lakshman. The background score is however very appropriate as it helps to interact with what the characters feel on screen.

Where there is a negative lies a positive and this film has many. Like I mentioned before all the pr-production work done really shows the creativity the director has for his characters. There are many characters in this film, and for the director to ensure what will each be made of mentally and physically shows very well on screen. He personifies them through their personality, para-language, body language and even hobbies. The excellent art direction by Bijon Das Gupta captured by the wide cinema scope frame of Rajan Kinagi shows all of this creation quite well, and adds marvel viewing.

Also the performance from all the cast, despite the weak plot, is very well handed due to the detail structure of the surround planning by the director. Karisma Kapoor, Aloknath, Tabu, Neelam and Saif Ali Khan displays wonderful moments of character acting, that surpasses most blockbuster stars currently in Indian cinema. Also Salman Khan performance is quite impressive despite having less screen time then most of the major characters. Here his shy charter is played to a tee and certainly contrast with his loud and crass characters in his past films like Pyaar Kiya To Darna Kiya (1998) and Hello Brother (1999).

Despite being harshly criticize by many film critics, and by some audiences, the film became the highest grossing Indian film of the year 1999. The film might be a favorite with family audiences, but for individuals who crave for something new won't find this film satisfying.

First time director Khalid Mohammed, who is a respected film critic, dons on a new cap and displays to Indian cinema what can be achieved visually in a film, and how a plot can take its audience to high expectations. This newly developed plot, with characteristics and representations that is very much three dimensional and anti-stereotype, commends the director for his skills as a film-maker.

Its very rare to find an woman, displayed on the moving canvas, as independent, strong and intelligent. Films like Mother India (1965), Bandit Queen (1996), Roja (1993), Hazzar Churasi Ki Maa (1998) and The Terrorist (1998/1999) are examples and the movie Fiza (2000) joins such list. Here the main character called Fiza, played wonderfully by Karishma Kapoor, is seen as such. Fiza is a woman presented in a material world that profits from politics and religion, a male dominated environment. Fiza, which means seasons, goes out in a dangerous world to find her brother, who is in contrast to Fiza as we soon learn.

Amman, played convincingly by the talented Hrithik Roshan, is seen as rather weak willed, easy to command over and psychologically unbalanced while finding his own identity. Even though he is built as a strong man through his physicality, his inner strength is weak and Fiza knows this. This forms part of the reason for his search when she leans that he is has associated with a terrorist group and the justification for this is rather strong. It also shows that man is not as perfect as they think to be and really brings out a new representation of them in this Indian film.

The characteristic of the mother, played by the wonderful theatrical actor Jaya Bachchan, is also similar to Fiza which has been fully developed making audiences emotionally bonded with her. This is due to her growing up in the times of post independence when women were considered to be below the male species in India. Living throughout two generations she carries both ideologies of the past and present seen through her own eyes. While respecting her religion very thoroughly, she is seen to be very close to her children and loves them dearly. This adds another reason why Fiza needs to find her brother, to make sure that her mother remains strong like her and that her believes that her son is still alive is true.

Yet when she sees the real colors of her son, she is dismayed and admits defeat. Sadly she commits suicide as a result. Many audience found this to be rather 'Indian cinema'. Yet to me it makes sense why the director took this path. She is a product of the past, and of faith. When she realizes that her faith of bringing Amman had failed in her eyes, she cannot face herself and as a result dies. If Fiza had a son, like Amman and the same circumstances happened in the future then Fiza would be able to cope with this as society is much more open then it was when Nishatbi was growing up. Clearly the director has thought-out the characters past, present and future rather wonderfully and intelligent audience who capture this understand engage in the film more deeply then what the film offers us on the surface.

There are moments when the film does play on stereotypes with the ministers, leaders, hit men and media, and this could have been improved upon. Yet these Indian cinema conventions manage to work within this screenplay as it is very brief and never dwelled upon. Other minor disappointments with the movie is the way songs come into the narrative structure making this film seem more apt-able for commercial cinema audiences. Dances, glamor and overly high modern songs seen in this film don't agree with the overall narrative jarring the viewing senses and prolonging time. The song only applicable for the film would be 'Piya Haji Ali', beautifully composed by A.R. Rahman, and the song 'Mere Watan' composed by Ranjit Barot as they help with the film's screenplay.

Now that I have talked about the content of the film lets ponder over the technical values, all of which are breathtaking. Cinematography by Santosh Sivan is excellent throughout capturing the images and light effects with perfection, while art design work is also very realistic and helps with the overall look of the film. Editing is also rather good and manages to blend the scenes rather well never deviating from the core matter, just wish those useless songs were edited out.

The film is an interesting concept from the new director and displays that his future work will be something all audiences will view with high expectations. But the director must move away from the 20 year old conventions we have seen in all of Indian films, in order to achieve something properly intellectual. Still Fiza is a good movie with brilliant characters, acting and technical credits.

After the dismal Maan (2000), which was a major let down from Indra Kumar, he seems to have slightly matured with this film in terms of his technical skills. However the director fails to understand the audiences expectations and their intelligence yet again. All of his films Dil (1990), Beta (1991), Raja (1994) & Ishq (1997), had problems of being damn right offensive to those who were in the minority or disabled. While the humor has been thankfully toned down for his present film, it still has unnecessary humor which I found to be insulting. What is more disturbing is that some of the audiences in the cinema thought it to be funny.

Personally I found the humor in the phone calls Pooja makes to Chander during the the first half of the film. These scenes also brings out the characteristics of the two main characters which are depicted as both young & innocent. While Chander has boyish mannerism in a grown man, Pooja lacks confidence in approaching Chander to ask him out, thus troubles him on the phone. Although not the sweetest of scenes seen in an Indian movie it still is the highlight of this film to which many will audiences will smile at and is a decent narrative which helps us establish the characters, and plot.

Here the two actors Bobby Deol and Karishma Kapoor shine. Surprisingly they received a lot of harsh criticisms from film critics about their acting but I feel they did an excellent job, which is suited to them. You only have to compare their performances in this film with their last performances together in the dismal film Hum To Mohaabat Karega (2000) and you know certain improvements have been made - give them credit year! Speaking of humor in the paragraph before I should also mention the two inspectors, played by Murkesh Rishi and Ashok Saraf, which formed humor in the second half of the film through their comic performances.

Showing audiences that Indian 'film' families are all not as sweet as portrayals seen in films like Hum Aapke Hain Koun (1994), or Dhaai Akshar Prem Ke (2001) is a breath of fresh air. In this film the character of Pooja comes from a unstable family background with her wealthy mother and alcoholic father. The film has its plus and shows a growing change in the way ordinary Hindi films are changing. Up to this point the film is satisfying and one of Indra Kumar's best cinematic moments.

When we reach the second half the film falls with the tendencies of 'hero saves the day' motif, which is predictable and not as gripping as it was once upon a time. This is in the form of a flesh trader, played excellently by Rahul Dev. While the action scenes are well executed, as is the climax with a decent fight sequence, it does slow the film down with the separated side-tracked comedy scenes of Johnny Lever, the uninspiring songs, poor music score taken from the American classic 'Godfather (1973)' & some plot holes concerning Chander's escape from the police.

Aside from this the film is an entertaining one and if Indra Kumar carries on improving, as he has done since his first film Dil, he could eventually achieve a film which everyone will love.

A great comedy film that really bring in the belly laughs with witty dialogs and fine comic timing from the cast, which adds to the fine performances seen in this screwball comedy. Kader Khan is perfect as the father and will provide the biggest laughs in this film.

If you want logic in the comedy then don't expect this film to provide it. A movie directed by David Dhawan means for two and a half hours you have to forget the world we live in. The director provides us with his own world when the police are a perfect establishment, no-one is afraid of the Indian Mafia, where all the ugly guys get the good-looking females, and everyone lives happily ever after.

Its pure escapism at its finest. His work in this film is close to the early works of Indian cinema's great director's Manmohan Desai, and Hirishkesh Mukherjee, thought not as good as it lacks some form of moral or purpose of its storytelling. Still it doesn't mean we can't enjoy it if it doesn't have any of those features! The film has a couple of fine song scores provided by Anu Malik which includes the aptly titled song 'What is Mobile Number.' Well I told you there is no logic in the film just pure fun and that is where the film scores big. A film which is India's equivalent (and improvement) to the British Carry On series.

Millionaire Seth Amirchand (Kader Khan) has two spoil sons; Monu (Govinda) and Sonu (Sanjay Dutt). Both have become very lazy and are used to the rich and easy lifestyle. Their father decides to put an end to this by not giving them any more money. So both Monu & Sonu try to con their father through numerous pranks, which always backfires.

Seth Amirchand decides to have the two brothers separated in order to have better control and more influence on their lives. Sonu is sent to his father's office in Mumbai while Monu is sent to Goa to collect an unpaid debt on his father's behalf. While in Goa Sonu meets and falls in love with Pooja (Pooja Batra). At the same time Monu meets Ritu (Karishma Kapoor), who is staying at a girls hostel while attending medical college, and falls in love with her. Both brothers doesn't know that Ritu and Pooja are sisters.

When Sonu wants to marry Pooja he goes to her father Gulzarilal (Anupam Kher) to ask her hand in marriage, but scared of his strict father he tells Gulzarilal that his uncle will come instead making up some excuse why his father cannot come. But who does he find to play his uncle..? His brother Monu of course, who disguises himself as an older man.

But realizing that his girlfriend Ritu is there, after completing college, Monu makes sure that he remains under disguise at all times so that his brother can marry. But what follows is identify crisis that will test the two brothers to the limit...

A strong woman oriented subject after long, director Krishna Vamsi's Shakti- The Power, the Desi version of the Hollywood hit Not Without My Daughter is actress Sridevi's first home-production. A story about a woman's fight against harsh injustice.

The story of the film revolves around Nandini (Karisma Kapoor) who lives in Canada with her two uncles (Tiku Talsania, Jaspal Bhatti). There she meets Shekhar (Sanjay Kapoor), falls in love with him and they soon marry. Their family is complete when Nandini has a boy, Raja (Master Jai Gidwani). But their happiness is short lived, as the news of Shekhar's ailing mother (Deepti Naval)makes them leave their perfect life in Canada and come to India. And that's when the problems start. From the moment they reach

India, both are shocked to see the pollution and the vast throngs of people everywhere. They take a crowded train to reach Shekhar's village and when they finally reach the station, they have to catch a long bus drive to his village. The filthy sweaty bus combined with the uncertain terrain makes it a never-ending drive. And unfortunately for them, a frenzied mob that beat Shekhar out of shape for no fault of his attacks their bus. Fortunately, they get shot dead just in time before they can further harm him. After that, they drive to the handing Havel where Shekhar''s father, Narsimha (Nana Patekar) lives with his wife (Deepti Naval). Nandani realized that her father-in-law is in command as soon as she enters the place, but her only solace is her mother-in-law's warm welcome.

Living there, Nandini learns of her father-in-laws tyrannical behavior and realizes that ruthless killing is a way of life for him. The day she sees her father-in-law teach her son to throw a bomb, she loses it and lashes out against him, insisting to Shekhar that they move back to Canada. But terror strikes again when Shekhar is murdered one day, leaving a broken down Nandini alone with her son in this strange land where she is harrowed by a cruel father-in-law. Her fight against this man to save her son is what makes up the climax of this emotional heart-wrenching film.

What sets apart Shakti from most films being made off late is also the rural setting of the movie. The only drawback is Ismail Darbar''s music, which fails to rise above the script. The only saving grace is the sexy item number Ishq Kameena, which has been composed by Anu Malik. Another pat for the director comes because he has extracted some splendid performances from his cast. Karisma Kapoor is the life of the film and has given a moving performance as a helpless mother. She is sure to win awards for this heated portrayal. Second is actor Nana Patekar who is back with a bang with this film. His uncouth mannerisms suit him to the hilt and he's shown his versatility once again with this role. Sanjay Kapoor is the surprise packet of the film with a sincere and effective portrayal that stands up against both the other actors. Deepti Naval too is in top form and her Pr-climax showdown with Nana is praiseworthy. Shahrukh's cameo provides the lighter moments and surely he's been pulled in to get the required star value. Though his role was not really required, he's done it well. Overall, Shakti is a far superior film than most churned out these days and the Pr-release hype is sure to get it a good opening. Shakti is sure to get the critics and audience thumps up. So what if the film needs to be desperately trimmed by at least 2 reels to better the impact. Shakti still has the power to go on without a hitch!

A vision of female follies & desires SHYAM Benegal spearheaded the parallel cinema movement in the 70s and the 80s with movies like Nishant and Manthan whereby making icons of Shabana Azmi, Naseeruddin Shah and Smita Patil. His genuine concern with womens' issues is evident in movies like Mammo and Sardari Begum (both scripted by Khalid Mohammad) with their women-oriented themes. His latest film Zubeidaa offers perspective vignettes and explores the female psyche and interaction in different environments. Benegal has a kindly vision of female follies and characters, their motivations, desperation's and desires.

Starring Karisma Kapur, Rekha and Manoj Bajpai, the film has strong a backup in Surekha Sikri and Lillette Dubey, supported by his favorites Amrish Puri and Rajit Kapur, Shyam Benegal calls his film a "lyrical romance" and it is one, but that is not all that his film offers. The film, a period romance set in the 1950s, is the story of a young Muslim girl from an affluent family. When her father discovers that his daughter has signed a film, he forces her into a marriage which ends in a divorce and a baby. Zubeidaa meets her true love, a Rajasthani prince (Manoj Bajpai) but the trouble is that he is already married. However, she consents to becoming his Chhoti Rani.

Basically there are four strongly etched characters in the film. Surekha Sikri is the Muslim wife in an urban, educated setting who abides by the laws set down by the husband and accepts his tyranny as a traditional male domain, "you know sahib always has his way. You'll have to do what he says in the end". Her contemporary is Lillette Dubey who plays Miss Rose Davenport, a dancer in the movies…and she's utterly irrepressible! Out to have a good time, she interacts on a superficial level with everyone connected to her. Still she has a kind heart and when she decides that Zubeidaa has had enough of moping around after her divorce, she promptly introduces her to the dashing prince and shamelessly abets the romance. Her statement, "men and horses are more my style my dear", (said with a mischievous wink) is completely her! The interesting thing is that the same fact, when examined by her and by Sikri, portrays diametrically different views of the truth making one realize that truth is never absolute! These two utterly different women, belonging to the same generation, remain true to type till their old age.

Karisma Kapoor and Rekha in Zubeidaa Benegal is never judgmental and nor does he allow the audience to become holier-than-thou. So human are both the women and so sympathetically has the director dealt with his characters that one simply accepts them and likes them.

The main character, that of Zubeidaa, superbly portrayed by Karisma Kapur, has overlapping shades to it. Zubeidaa has fiery feminist instincts and is rebellious and tempestuous until the end. At the same time she's feminine, vulnerable and very young. She chooses to live her life the way she wants to. After giving into paternal authority once in her first marriage, she isn't willing to throw away her chance for happiness the second time. Fully aware of the prince's previous marriage and family, she's ready to accept a strange environment and a different religion for the sake of love. She makes her choices and sacrifices willingly and knowingly. Karisma has surpassed herself as the passionate, defiant, willful and troubled Zubeidaa, the truly modern woman.

In direct contrast to her is Mandira Devi, the Patrani of the prince. Graceful, mature and traditional, she upholds the role and duties of the Rajasthani princess, yet surprises Zubeidaa by saying, "call me Mandy". She treats Zubeidaa with resigned, amused affection, never losing her savor-fare while she instructs Zubeidaa in her expected role.

The most important facet that Benegal has been able to bring out through the film is the fact of female bonding. Whether it is Lillette with Karisma or Karisma with Surekha or Karisma with Rekha, females in the film interact, react, exist and equate with each other, despite the parameters set by males. They understand and accept each others' drives and emotions. Rekha and Karisma, in fact, have a frank discussion about their respective relationships with the prince. Both accept that they have a different role to play in his life—but in the final analysis, that role is assigned by the male. So if the prince says of his senior wife, "woh eek ache Rajput bah ha", he says to Karisma, "sada ha seen bane Rana Ur Dill belling", leaving no ambiguity in the respective role expectation.

The plot of the story moves fast from scene to scene—from the 50s to the 80s (the film is in a series of flash-backs) without losing track of the story. It is also not so 'period' that one cannot relate to it. There are traces of the British upper class manners,egg. The meals and decor in Karisma's house is very Anglicized, people speak English comfortably, on the stereo a Dean Martin song is playing, in a party is a live band with the saxophone, trumpet and drums playing a waltz. There are puff sleeves, shingled hair and net depots, there is talk of the newly-formed Pakistan, the Privy-purses being withdrawn is a burning issue and many details like these to make the setting completely authentic. Back home in Fatehpur too, the true Rajasthani setting has been portrayed with attention to minute detail.

In the final analysis, Benegal has made a film which is a milestone as far as women-oriented movies are concerned. The theme, characterization and issues that the film examines are fair to women and have been examined without any searing criticism to mar the tone of the picture.

According to the hype around Crouching Tiger Hidden Dragon, its creators have produced a miracle: a martial arts crossover hit, simultaneously a substantial foreign language drama for discerning art house audiences and the greatest martial arts movie of all time. Although Crouching Tiger falls short of such (probably unattainable) perfection, it is enormously fun, and manages to be one of the more interesting films of recent years. Though nominally set in the Qing dynasty, Crouching Tiger Hidden Dragon is loosely based in a Chinese martial arts movie tradition that pits outlaws against heroes in a timeless "long ago" analogous to the American cinematic Old West. As the film opens, Li Mu Bai (Chow Yun Fat), the greatest swordsman in China and famed disciple of the Wudan martial arts system, has realized that the years spent fighting outlaws and striving for enlightenment have left him lonely and unhappy. He is on the verge of renouncing his life as a warrior to try to find happiness with his beloved friend and former comrade-in-arms Shu Lien (Michelle Yeoh). As the film opens, he commits to the custody of longtime friend Sir Te his legendary sword, the beautiful, invincible Green Destiny, and is on the point of proposing to Shu Lien, who clearly shares his feelings, that they make a life together. His plans are interrupted by the reappearance of old foe Jade Fox (Cheng Pei Pei), who betrayed and murdered Mu Bai's master and stole the secret manual of Wudan's techniques. Resurfacing in Beijing, Jade Fox has become the governess of Yu Jen (Zhang Zi Yi), the daughter of a prominent government official. Slated for a loveless political marriage, Jen longs for any escape-into the remote deserts of her former home province; into an imagined world based on adventure tales, drawn from the real lives of warriors like Li Mu Bai and Shu Lien; into the arms of her secret love, a dashing barbarian bandit named Lo (Chang Chen). Her secret restlessness makes her vulnerable to manipulation by Jade Fox, but what makes her dangerous is her other secret: she is a martial arts prodigy of enormous potential. Half-trained by Jade Fox using the stolen Wudan manual, Jen has much of the technique but none of the Taoist philosophy; but even in this state she is a match for our heroes. Fascinated by the Giang Hu world (and her taste of it in her interlude with Lo), inspired by meeting Shu Lien, tempted by the now-idle Green Destiny, and poisoned by the influence of Jade Fox, Jen is a loose cannon, a menace to all those around her. Li Mu Bai, the embodiment of the Wuxia ideal, naturally wants revenge upon Jade Fox for her crimes against his master and his school; more than this, though, he wishes to take Jen as disciple to be Wudan's first female student - largely because without Wudan discipline she will surely become a villain far worse than her mistress. Shu Lien also comes to feel a sisterly affection for the young prodigy. Setting aside their personal needs, Li Mu Bai and Shu Lien take on Jade Fox in a struggle over the girl's fate, as the chaos swirling around her threatens to ensnare them all. True to its title, which names the animal pair most commonly representative of the contradictory and complementary principles of yin and yang in Taoist and Buddhist symbolism, the movie concentrates on the interaction of opposing forces. The consequences of impetuously pursuing one's desires contrast with the loss and regret that are the reverse of restraint and duty. The naive certainty of youth is weighed against the ambiguities of maturity. Jen's coming of age is juxtaposed against the mid-life conflict within Li Mu Bai. All of the main characters much decide when to fight to control their lives and when to acquiesce before forces that cannot be altered. Speaking of performances, I bow down to Michelle Yeoh. She simply shines as Shu Lien -- a humble warrior with strength, compassion, intuition and hundreds of other notable attributes. I cried for her during the end of this film. Not because she has the most beautiful finishing move or roundhouse kick, but because she is a damn fine actress and she made my heart ache for her. As she did in to James Bond in Tomorrow Never Dies and even Jackie Chan in Supercop, she almost steals the show again here. As Li Mu Bai and Shu Lien, Chow and Yeoh smolder with their characters' repressed passions. The actors incorporate the spirit of swordplay in their performances and alternate between slow, taut exchanges and lightning flashes of intense emotion. They likewise maintain character through their fighting sequences, in which Yeoh's Shu Lien moves with confident virtuosity, and Chow's Li Mu Bai, the accomplished master, needs to use only the sparest, most efficient techniques. These mega star veterans of Hong Kong and Hollywood fearlessly play up their maturity, imbuing their performances with an exquisite sense of loss; the curious result is that they have never seemed sexier. Zhang Zi Yi is ravishingly pretty as the confused and tormented Jen, and her background in dance helps her execute dazzling fight scenes and wire work. Comparisons to established Chinese actress Gong Li may well be justified, however; Zhang's performance, failing at times to arouse sympathy, makes her seem more cold and spoiled than anything else. Martial arts fans will be thrilled to see women's action pioneer Cheng Pei Pei's return to the screen as Jade Fox in her first role as a villain. Chang Chen, whom American audiences may remember from Wong Kar-Wai's wistful Happy Together, makes a dashing and likable barbarian Lo. Fans of Ang Lee's Taiwanese family-focused dramas will appreciate Lung Sihung's short but memorable appearance as Sir Te, patron and friend to Shu Lien and Mu Bai.