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The Taking of Tiger Mountain

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The Taking of Tiger Mountain

A story focusing on a conflict between a People's Liberation Army squad and a bandit gang in north-east China during the Chinese revolution. A story focusing on a conflict between a People's Liberation Army squad and a bandit gang in north-east China during the Chinese revolution. A story focusing on a conflict between a People's Liberation Army squad and a bandit gang in north-east China during the Chinese revolution.

• Jianxin Huang
• Hanyu Zhang
• Tony Ka Fai Leung
• 14 User reviews
• 55 Critic reviews
• 61 Metascore
• 21 wins & 41 nominations

• Yang Zirong

• (as Genxin Lin)

• Ma Qinglian

• Gao Bo (Guest star)
• (as Chuck Chae)
• (as Shihan Cheng)
• Village Chief
• All cast & crew
• Production, box office & more at IMDbPro

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• Trivia The Tiger is a Siberian Tiger. The largest of the cats.
• Connections Remake of Tracks in the Snowy Forest (1960)

User reviews 14

• Jan 13, 2016
• How long is The Taking of Tiger Mountain? Powered by Alexa
• December 23, 2014 (China)
• Dau trí núi Uy Ho
• Bona Film Group
• Huaxia Film Distribution
• August 1st Film Studio
• See more company credits at IMDbPro
• Jan 4, 2015
• $141,654,055

Technical specs

• Runtime 2 hours 21 minutes
• Dolby Atmos
• Dolby Surround 7.1

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The Taking of Tiger Mountain

More boy’s own adventure than patriotic anthem, Tsui Hark directs one hell of an enjoyable action yarn…

The Taking of Tiger Mountain has its roots in real events, albeit via Qu Bo’s novel Tracks in the Snowy Forest 林海雪原 – a highly fictionalised account of how Yang Zirong, a reconnaissance soldier in People’s Liberation Army, disguised himself as a bandit to bring down a stronghold in 1946 during the Chinese Civil War. In turn it became a Peking Opera, and one of Mao’s ‘eight model plays’ allowed during the Cultural Revolution, which itself became a film in 1970 – and as one of the few to be released through that period it became one of the most watch films of all time, with official Chinese government statistics claiming a total audience of 7.3 billion by the end of 1974. Yet all things considered, Tsui Hark’s modern take on the story is less jingoistic than you might expect, if only because there’s little time for it as Tsui embraces the action in all its 3D spectacle, with enjoyable and engaging performances from Zhang Hanyu, Kenny Lin Geng-xin, Tong Liya, Yun Nan and Tony Leung Ka-Fei, almost completely unrecognisable as lead villain Lord Hawk.

Captain ‘203’ Shao Jianbo (Lin Gengxin, Young Detective Dee: Rise of the Sea Dragon, My Old Classmate , Black & White – The Dawn of Justice) leads a small People’s Liberation Army (PLA) squard charged with ridding the countryside of bandits. After a battle with a particularly large group of bandits, the team are surprised to be assigned only scout Yang Zirong (Zhang, Special ID , Back to 1942 , Bodyguards and Assassins ) and trained war nurse ‘Little Dove’ (Tong Liya, So Young , Silent Witness , Wild City) to help. It’s only as they take shelter in the nearby village of Leather Creek, with its inhabitants browbeaten by year’s of raiding by Japanese occupation and subsequent bandit excursions, the soldiers realise the bandit stronghold at Tiger Mountain led by Lord Hawk (Leung) holds not just a wealth of gold, but all the former Japanese occupants munitions. Aligned with the Kuomintang (KMT) Nationalist army, the bandits have the power to turn the tide of the Civil War at a moments notice.

The squad are torn between protecting the village from further raids by the bandits, and forming a plan to take down Lord Hawk and his bandits once and for all. The mysterious and more than vaguely bandit-y looking Yang volunteers to go under cover and discover their weak points from the inside – but can he be trusted?

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Far from attempt to bring any realism back into the The Taking of Tiger Mountain from the Opera adaption, director Tsui Hark carves out an over-the-top war movie in the mode of Alistair Maclean (Ice Station Zebra, Where Eagles Dare) , which perhaps alludes to its source material. ( Tracks in the Snowy Forest was published the same year as Maclean’s The Guns Of Navarone , in 1957.) Indeed, there’s something old fashioned about Tiger Mountain. In stark contrast to the mainly conventional representation of the PLA and villagers – the only exception being Zhang as Yang, who’s heavy eyelid shadowing references earlier Opera and film incarnations – the villains are styled in such a deliciously theatrical way they could have walked out straight out of a 40s matinee serial adventure or comic book from the 1940s, from Leung Kar-fai’s heavily made up appearance down, and all highly individual and instantly recognisable.

And there’s nothing wrong with that. Tsui grasps the spectacle of a 3D film, often playing with techniques such as using bullet time to freeze the action as the camera spins round; grenades thrown by each side meet in the middle, and explode, in what feels like a nod to the bullet collision in Ringo Lam’s Full Contact . Of course, however spectacular this might look in 3D, that does earmark the film as such when minus that extra dimension. And sometimes the film feels a little at odds with itself, occasional use of wires breaking the relatively grounded abilities of the soldiers.

All of which leaves little time for political messages. Sure, as it happens the Kuomintang (KMT) Nationalist army have aligned themselves with the bandits for their own gain. Not only that, but a KMT commander is one of Hawk’s leading ‘big brothers’ – played by Xing Yu ( Kung Fu Jungle , Shaolin , Ip Man ) as all curious winks and eyebrow raising – so dishonourable he’s ready to ditch the bandits when they stop being useful.

Very quickly the film becomes more about protecting the villagers, as the troop protect the village from an infraction from 300 bandits with a variety of ingenious DIY methods that recalls Seven Samurai, 13 Assassins and Chang Cheh’s 7 Man Army , as well as Tsui’s own Seven Swords . The film morphs again, when the band of brothers discovers that the mother of a young boy called Knotti (Su Yiming), who barely survived when his village was destroyed by bandits, is now Hawk’s concubine – becoming part rescue mission to reunite them.

It’s in the characterisation that the film excels, giving the cast room to fill their roles. The soldiers are sympathetic and engaging, giving you characters you care about; the bandits all wonderfully exaggerated and dastardly. There’s a distinct lack of convoluted subplots and redundant characters that mar and confuse so many big budget Hong Kong and Chinese films. And being a Tsui film, both main female characters, ‘Little Dove’ (Tong Liya) and Knotti’s mother Qinglian (Yu Nan, Silent Witness, No Man’s Land , Speed Racer) are portrayed as strong and feisty; ready to take on the men and quite able to do it.

It’s not perfect. A framing device in the present, where we follow a young man on his journey home from New York who we later find out is Yang’s grandson, feels like a heavy handed way to make the story relevant today. It also allows this man to replay the final duel between Yang and Hawk as he’d like to imagine it, allowing for a whole extra gigantic action scene with a biplane that again alludes to the matinee serials. You almost wonder if they got to the end and worked out they still had a chunk of money left. Though really that scene makes the point that it’s the telling of the story, whether it is as a novel, opera or film, that celebrates Yang’s very real achievement, not the accuracy by which it’s told, it really does feel unnecessary.

But overall The Taking Of Tiger Mountain is entertaining popcorn fodder in the mode of the Once Upon A Time In China series or Detective Dee and the Mystery of the Phantom Flame . Totally watchable and well paced, despite what you might think from the running time, Tsui is at the top of his game. Why we expect anything else?

The Taking Of Tiger Mountain  was the closing film of the 2015 Udine Far East Film Festival and will be screened at the New York Asian Film Festival 2015 . It was released on US Blu-ray and DVD by Well Go USA on 2 June 2015.

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‘the taking of tiger mountain’ (‘zhi qu wei hu shan’): film review.

Tsui Hark conjures an all-out actioner from a late 1940s-set story about a People's Liberation Army soldier infiltrating a clan of bandits

By Clarence Tsui

Clarence Tsui

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Taking Tiger Mountain Still - H 2014

Another week, another Chinese blockbuster emerges to revisit and reinvent the country’s 20th-century ebbs and flows. Compared to John Woo ‘s shipwreck of a wartime romance The Crossing: Part One and Jiang Wen ‘s scattershot satire Gone with the Bullets , Tsui Hark ‘s The Taking of Tiger Mountain —  based on a 1957 novel about a communist soldier’s battle of wits with bandits during the Chinese Civil War in the late 1940s — is a straightforward spectacle motored by relentless high-octane action sequences between simplistic heroes and grotesque villains. Amid the blinding visuals and ear-splitting firepower made available to Tsui by his 21st century special-effects team, his adaptation stays very close to the simplistic moral binary that shapes its source material — hardly a surprise, as Tsui counts among his backers the August First Film Studio, the Chinese military’s movie-making unit.

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It’s unlikely August First, which produced the first film adaptation of Qu Bo ‘s Tracks In A Snowy Forest in 1960, would have allowed Tsui to inject even a modicum of unruliness into its protagonist. Such nuances, however, are crucial in giving  The Taking of Tiger Mountain  some contemporary relevance, with its plot revolving around a good guy trying to destroy a criminal clan from within — a premise brought vividly to life in Chinese-language cinema during the past decade through films such as Infernal Affairs or The Message , two works that clearly influenced  The Taking of Tiger Mountain in terms of both narrative (the mole finding an unlikely ally among the hoodlums he’s commissioned to obliterate) and mise-en-scene (the undercover agent play-acting with a femme fatale to fool those eavesdropping from outside).

The Bottom Line Straightforward mix of bombastic blitzkrieg and clear-cut patriots and villains.

Perhaps the producers’ decision to leave out the last two words of this story’s original title, Taking Tiger Mountain By Strategy , stems from more than just the need for a simpler handle: The Taking of Tiger Mountain is, indeed, more about an artillery-fuelled assault than tactical mind games. This reliance on pomp and bluster seems to have worked for those craving festive viewing in China, as the film (released mostly in 3D in the country) secured $51.1 million at the box office during its first five days of release. The 2D version of the film will open in the U.S. on Jan. 2.

Read More  China’s 2014 Box Office Figures Set to Miss Industry Target

The Taking of Tiger Mountain is originally merely a section in Tracks In A Snowy Forest , a novel based on a real-life Chinese Red Army platoon’s missions in a brigand-infested Manchuria after the end of the Second World War. The central character here is Yang Ziyong ( Zhang Hanyu , The Message ), a surveillance officer who volunteers to infiltrate a gang of outlaws exerting regional control from a heavily fortified castle. Having found his way into the den and up the gang’s hierarchy, Yang is put to the test by monstrous leader Hawk ( Tony Leung Kar-fai , Election ), one of his tools being Qinglian ( Yu Nan , The Expendables 3 ), the woman he abducted from a village in a raid.

It’s a shame the script doesn’t provide Zhang, one of the best actors working in China today, with a more complex character to play; the possibilities shown in the first part of the film, with him appearing as some kind of unseemly rogue in a well-regimented military unit, are never followed up, and the character becomes an immaculate, one-dimensional uniformed hero like his unit commander ( Lin Gengxin ), the nerdy and self-sacrificial boy-soldier ( Chen Xiao ) and the angelic nurse ( Tong Liya ).

Interestingly, The Taking of Tiger Mountain is also a showcase for a modern Hong Kong/Chinese artist’s struggle to navigate creative leeway within the confines of the establishment. This contradiction is manifested most explicitly in the awkward, 2014-set sequences bookending the film, as a Chinese university graduate called Jimmy ( Han Geng ) is seen watching, mesmerized, the 1970 version of Taking Tiger Mountain by Strategy in New York, and then elects to head back home to northeast China — where Tiger Mountain takes place — and “re-imagine” his own version of an incredible, over-the-top final showdown between Yang and Hawk.

In effect, Jimmy’s wild take on the story, stuck on to the end of the film as a 10-minute coda, is very much what Tsui (who has spoken of watching Tiger Mountain for the first time while studying in the U.S. in the 1970s) would have wanted to include, but couldn’t. His challenge of reinventing the unique art of revolutionary Chinese operas, and bringing his brand of nationalism up to date, continues.

Production companies: Bona Film Group, Huaxia Film Distribution, August First Film Studio

Cast: Zhang Hanyu, Tony Leung Kar-fai, Lin Gengxin, Yu Nan, Tong Liya, Han Geng

Director: Tsui Hark

Screenwriters: Huang Xin, Li Yang, Tsui Hark, Wu Bing, Dong Zhe, Lin Qian, based on Qu Bo’s novel ‘Tracks in the Snowy Forest’

Producers: Huang Jianxin, Nansun Shi

Executive producers: Yu Dong, Lu Guoqiang, Fu Ruoqing, Huang Hong, Ye Ning, Cao Yin, Gu Yongjiang, Li Ruigang, Wu Huijin, Jeffrey Chan

Director of photography: Choi Sung-fai

Production designer: Yi Zhenzhou

Costume designer: Kwon Yoo-jin

Editor: Yu Boyang

Casting Director: Zhu Laicheng

Music: William Hu

International Sales: Distribution Workshop

US distributor: Well Go USA

In Mandarin

No MPAA rating, 141 minutes (Chinese version)

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Film Review: ‘The Taking of Tiger Mountain’

Tsui Hark's 3D blockbuster boasts arguably the finest 3D visuals in recent mainland Chinese cinema.

By Maggie Lee

Chief Asia Film Critic

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Just as Tsui Hark  revamped the sedate, two-decades-long chopsocky series “Wong Fei-hung” into the rollicking martial-arts epic “Once Upon a Time in China,” so the Hong Kong genre-meister has transformed a Chinese communist propaganda classic into a barnstorming period actioner with “The Taking of Tiger Mountain.” Boasting arguably the finest 3D visuals in recent mainland cinema while retaining the original chronicle’s populist ideals, this account of the People’s Liberation Army’s strategic ambush of a bandits’ lair delivers sinewy battles and twisty espionage with a husky northern flavor. It topped the Chinese box office  upon its Dec. 23 release and should wow bona fide Asian genre fans.

Extracting a famous episode from Qu Bo’s fact-based novel “Tracks in the Snowy Forest” (“Lin hai xue yuan”), “The Taking of Tiger Mountain” was one of eight revolutionary operas ( yangbanxi ) promulgated by Mao Zedong’s wife Jiang Qing during the Cultural Revolution. In 1968, it became the first yangbanxi  to be adapted for the screen, by Xie Tieli. Mainlanders born before the 1980s all know key lines by heart.

Tsui’s version has preserved the opera’s basic storyline while invigorating its subplots with more dramatic momentum; he’s also kept the novel’s large roster of characters and fleshed out the main roles. Moreover, he boldly invests the figure of the undercover agent, a popular icon in mainland patriotic films, with characteristics of the mole, that staple of so many Hong Kong cop thrillers. Typical of a Tsui film, the villains, dressed in trendy goth gear, are more fun than the good guys.

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The main story is bookended by a contempo prologue and epilogue, set in New York and China’s Heilongjiang province, respectively, prompting one to marvel at how far the Chinese have forged ahead from their impoverished war-ravaged past, while underscoring the new generation’s utter detachment from their forebears’ revolutionary zeal.

Back in 1946, the PLA has scored a resounding victory against the ruling Nationalists (KMT) in Dongbei region, formerly the Japanese puppet state Manchukuo. While the Chinese Communist Party (CCP) busily consolidates its new territory, bandits exploit the chaos to loot and terrorize peasants. PLA Capt. Shao Jianbo, code name 203 (Lin Gengxin, “The Old Classmate,” “Young Detective Dee”), leads a small platoon stationed at Leather Creek to destroy Tiger Mountain, a former Japanese arsenal, now the impregnable stronghold of bandit king Hawk (Tony Leung Ka-fai).

Tsui and his five fellow scribes have ruthlessly condensed copious historical background into a single introductory voiceover, hacking away chunks of long-winded ideological rhetoric. The first action setpiece kicks off less than seven minutes into the film, which sees Tsui trading his signature high-wire martial arts for the brawny rigor of military combat, the realism of which is heightened by an impressive array of authentic WWII weaponry.

Det. Agent Yang Zirong ( Zhang Hanyu , “The Assembly,” “The Message”) and army nurse Bai Ru, nicknamed L’il Dove (Uighur beauty Tong Liya), are assigned to assist 203 in his mission. Opportunity knocks when they capture KMT lackey Luan Ping (Gui Yiheng), who has acquired a valuable military map. Yang volunteers to infiltrate Tiger Mountain by posing as defector from Hawk’s rival gang and presenting the map to him as a tribute. Complex factors like the aftermath of the Japanese invasion, the legacy of warlord Chang Hsueh-liang, and the KMT’s collusion with bandits all come into play in this operation, but in the filmmakers’ haste to move things along briskly, their exposition may seem muddled to audiences unfamiliar with the context.

Once Yang gains admittance to Tiger Mountain, the film crosses over into genre terrain. The episodes in which he deflects danger, outwits opponents and forms a dicey liaison with Hawk’s foxy concubine Qinglian (Yu Nan) are all ably plotted. What’s lacking is nail-biting suspense; despite all the buildup about Hawk’s treacherous, mistrustful nature, it doesn’t take any riveting mind games for Yang to insinuate himself into the king’s favor.

The film’s strength really lies in its thrilling pace and robust action, elaborately choreographed and executed to involve a large ensemble of characters in a gripping way. The best example is an armed clash in which 203’s outnumbered platoon valiantly fights with homemade snares and primitive weaponry. The style not only vividly re-creates the guerrilla tactics the PLA is proud of, but also tips its hat to “Seven Samurai.” The gritty realism of this sequence and others gives way to a thundering climax in which Tsui unleashes all manner of frenzied pyrotechnics, culminating in a meta-fictional coda that cheekily references “Raiders of the Lost Ark” while implying that historic accounts have their fair share of fabulist embellishment.

In the opera, the PLA are glorified as flawless and heroic fighters who have the people’s unconditional support. In this version, relations among soldiers and peasants are enlivened by strife, misunderstandings and personality clashes, such as the straight-laced 203’s initial disdain for the deadbeat Yang. Dongbei native Lin evinces a northern hardiness clearly distinct from the suave heartthrobs he’s used to tackling in martial-arts and period dramas. Zhang, who rose to fame playing macho, patriotic officers, coasts through numerous disguises and reversals, but his is not a layered character.

Leung sheds all subtlety, grimacing and lurching around like Gru in “Despicable Me,” but he’s still upstaged by his grotesque prosthetic makeup. Tong and Yu form a conventional virgin/whore dichotomy but both are underused: Despite L’il Dove’s protestations of being a soldier, applying first aid is all she does, whereas Qinglian’s vampy aura actually gets her and the plot nowhere.

Tech credits, especially the stereoscopic effects by Korea’s Dexter and Mofac studios, are top-of-the-line. Hong Kong lenser Choi Sung-fai, who worked on Tsui’s other 3D blockbusters, “Young Detective Dee” and “Flying Swords of Dragon Gate,” conveys the fury of battle with robust camera movements, while capturing Heilongjiang’s breathtaking pine forests and snow-capped cliffs with widescreen splendor. Production designer Yi Zhenzhou (“Hero”) works wonders with a stark color scheme of gray, white, red and brown, fashioning striking contrasts between coarse peasant cottages and the exotic, Middle Earth-like bandit hideouts. Wu Wai-lap’s quietly dignified score thankfully avoids tacky “modern medleys” of the original’s arias.

Reviewed at UA KK Mall, Shenzhen, China, Dec. 23, 2014. Running time: 142 MIN. (Original title: "Zhi qu Weihushan")

• Production: (China-Hong Kong) A Bona Film Group (in China)/Well Go USA Entertainment (in U.S.)/Distribution Workshop (in HK) release of a Bona Film Group Co., Huaxia Film Distribution Co., August First Film Studio, Wanda Media Co., China Movie Channel, Youku Tudou Film, Shanghai Real Thing Media Co., Dream Sky Film Co., Bona Entertainment Co. presentation of a Bona Film Group production, with the support of Bona Film Investment Fund. (International sales: Distribution Workshop, Hong Kong.) Produced by Nansun Shi, Yu Dong, Huang Jianxin. Executive producer, Yu Dong. Co-producer, Lu Guoqiang. Co-executive producers, Fu Ruoqing, Huang Hong, Jerry Ye, Cao Yin, Victor Koo, Li Ruigang, Wu Huijun, Jeffrey Chan.
• Crew: Directed by Tsui Hark. Screenplay, Huang Xin, Li Yang, Tsui, Wu Bing, Dong Zhe, Lin Chi-an, based on the novel "Tracks in the Snowy Forest" by Qu Bo. Camera (color, widescreen, HD), Choi Sung-fai; editor, Yu Baiyang; music, Wu Wai-lap; production designer, Yi Zhenzhou; set decorators, Ji Zhaolong, Yi Hua; costume designer, Kwon Yoojin; sound (Dolby Atmos, Dolby SRD 7.1), Kinson Tsang; re-recording mixers, Tsang, George Lee Yiu-keung; animation, Jim Henson Creative Workshop; visual effects supervisor, Kim Wook, Kim Jong-hyun, Jang Hyun-jin, Jay Jaegal Seung, Li Rui, Lin Zhemin; visual effects, Dexter Studios,  Mofac Studios; Illumina, Bulky VFX; action director, Yuen Bun; associate producers, Ding Yilan, Yue Yang, Wu Yakang, Xiong Xiaotong, Deu Wenwei; second unit camera, Gao Hu.
• With: Zhang Hanyu, Tony Leung Ka-fai, Lin Gengxin, Yu Nan, Tong Liya, Su Yueming, Han Geng, Chen Xiao, Gui Yiheng. (Mandarin, Dongbei dialect, English dialogue)

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Throughout the '80s and '90s, when the action cinema of Hong Kong was at its artistic and commercial peak throughout the world, arguably the key figure in their film industry was the hugely prolific Tsui Hark . As a producer, director and/or writer (and usually in some combination of the three), he was involved with many of the key cinematic works of this period—"Peking Opera Blues," the "A Better Tomorrow" trilogy, "The Killer," "Dragon Inn," "A Chinese Ghost Story" and the jaw-dropping "Time and Tide" to name just a few. FIlled with breathtaking stunts, exquisitely choreographed, action set-pieces and weirdo humor, the films that he was involved in stood out amidst the flood of titles that emerged during that time. So distinctive was his work that during the brief period of time when he departed Hong Kong for America to direct a couple of Jean-Claude Van Damme epics (a ritual that many of the major HK players took part in at the time), the resulting films, " Double Team " and "Knock Off" were actually kind of entertaining in a cheerfully insane way.

In recent years, he has slowed down his output a bit—he now averages maybe one movie a year when he used to crank out two or three—but as his latest work, "The Taking of Tiger Mountain," demonstrates, he has not lost any of his filmmaking fever. While the end result may be admittedly more uneven in spots than his best-known works, this lavish period piece contains enough thrills, spills and moments of cinematic grace that not only manage to push it through the rough spots but allow it to put most American action films of recent vintage to shame. 

The story takes place in northwest China in the winter of 1946, a period in which civil war raged throughout the land between marauding gangs of bandits and the People's Liberation Army, who were charged with bringing them down. The most feared of all the bandits is Lord Hawk ( Tony Leung ), who commands an army of thousands from his fortress atop Tiger Mountain, is armed to the teeth with weaponry that was left behind when the Japanese fled and has been laying waste to any village in the area unlucky enough to get in their way. Opposing Hawk is PLA Unit 203, a rag-tag group of perhaps 30 soldiers serving under the idealistic Jianbo (Kenny Lin).

Outgunned, outmanned and with time running short, Unit 203 launches a desperate final bid to defeat Hawk and his men by sending one of their men, Zirong Yang (Hanyu Zhang), to infiltrate Hawk's stronghold by posing as a fellow bandit so that he can surreptitiously smuggle out information regarding the stronghold that the others can use to create a plan of attack. Although Zirong is quickly taken into Hawk's confidence, some of the other bandits, especially Second Brother (Yu Xing), are suspicious of the newcomer and his motives, and he is in constant danger of being found out. Eventually, Hawk decides to launch a surprise attack on Unit 203 but the smaller group manages to prevails despite being outnumbered, which paradoxically only adds to the suspicion regarding Zirong. Just before Hawk can launch an unexpected second attack, Unit 203 decides to attack Tiger Mountain themselves during a New Year's Eve celebration in a last-ditch effort to bring Hawk down.

Although inspired by historical incident, one does not need to be an expert in this particular period of Chinese history to understand what is going on in "The Taking of Tiger Mountain." Once the opening expository scenes are passed, the film is essentially a typical guys-on-a-mission war movie in the manner of "Where Eagles Dare" and can be understood solely on that basic level--the good guys are good, the bad guys are horrible and anything remotely smacking of ambiguity is lost amidst all of the explosions and gunfire. Cutting through a lot of the potential narrative confusion for those without a working knowledge of Chinese history are the immensely charismatic and captivating performances by Hanyo Zhang as Zirong and Tony Leung as Hawk--the former does an excellent job of conveying the gravity of his situation without ever showing anything other than unflappable cool while the latter is clearly have a blast play the worst of the bad guys while still finding the occasional note of sympathy for him as well.

Some longtime Tsui fans may bemoan that his action set-pieces, which used to be done largely through insane and dangerous stunt work, now utilize a lot of CGI imagery, but, even if they lack the raw power of his earlier works, what he comes up with here is still pretty spectacular. There are three major action sequences in the film—the opening warehouse skirmish between Hawk's men and Unit 203, the attack on Unit 203's base of operations and their responding siege on Hawk's mountain fortress—and no one will be going home disappointed after watching them with the most eye-popping moment being the bit where someone actually manage to jump across an enormous mountain crevasse on skis, albeit with a little help of a sort that I leave for you to discover. Another standout moment comes when Zirong finds himself battling a hungry tiger in the woods, a skirmish that finds the two fighting among the treetops—obviously, this is as ridiculous as can be but it is a bit of thrilling beauty to behold.

That said, Tsui has made a couple of tactical errors with his storytelling that do make the film a little uneven at times. Stylistically, he tries to have things both ways by presenting Unit 203 in starkly realistic terms while depicting Hawk and his army in highly stylized terms, right down to the ferocious hawks that swoop in to pluck out the eyes of those who offend him, and the juxtaposition between the two approaches is occasionally jarring. He also includes an odd modern-day framing device involving a young man traveling from New York to his homeland that is patently unnecessary. Weirdest of all, after the triumphant-but-realistic finale has been deployed and the end credits have begun to roll, Tsui provides us with an alternate ending in which good defeats evil in an over-the-top manner more suitable to a lesser James Bond film, as if he were afraid that the real ending somehow would leave viewers unsatisfied.

"The Taking of Tiger Mountain" may lack the raw power of Tsui Hark's seminal work and that second ending is certain to send viewers out into the streets wondering what the hell that was all about. And yet, while it may not be a great Tsui film, it is certainly a good one, and that means that it is more interesting than most of the action fodder that hits the multiplexes these days. In fact, if the year's upcoming cinematic spectacles are only half as exciting and energetic as this one, then 2015 will be a most memorable year indeed.

Peter Sobczynski

A moderately insightful critic, full-on Swiftie and all-around  bon vivant , Peter Sobczynski, in addition to his work at this site, is also a contributor to The Spool and can be heard weekly discussing new Blu-Ray releases on the Movie Madness podcast on the Now Playing network.

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The Taking of Tiger Mountain (2015)

141 minutes

Zhang Hanyu

Tony Leung Ka-fai

Lin Gengxin

Cinematography

• Sung Fai Choi

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The Asian Cinema Critic

The Taking of Tiger Mountain

An historical epic about war, adventure, spies, snowy landscapes… and tigers. What else can you ask for?

“Retribution comes to all, eventually.”

To understand what this film is about, a bit of historical background might be necessary for western audiences. Between 1938 and 1945 (the second Sino-Japanese war), Japan tried to expand to all the countries around, including China. Towards the end of World War II, being attacked simultaneously by the USA, Russia and the newly branded People’s Liberation Army (PLA), Japanese troops were forced to withdraw. Their departure left behind a lot of military equipment and territories that were up for grabs. This is, in a nutshell, when the story begins. Bandits have taken a Japanese fortified position along with some arsenal. A PLA squadron, trying to clean up the area, will come to help a village that had just been raided. They will try and find a way to take the stronghold.

Breaking down the film into individual storylines is close to impossible for two main reasons. The first one is that it comes from a book ( Tracks in the Snowy Forest , written by Qu Bo) that juggles with more than a dozen main characters. Almost everyone we meet during the 2 hours and 20 minutes of the film has a bit of backstory or enough scenes and dialogue lines to be properly fleshed out. This allows you to care for them and wonder what will happen.

The other thing is that Tsui Hark is still an amazing storyteller who doesn’t care about the story he’s telling. The last sentence doesn’t make sense but it’s exactly what you get. The overall storyline, Tsui Hark doesn’t care about it one bit. Having seen the movie multiple times, I still struggle in identifying what the main objective is. So, how come the movie is still wonderfully narrated and easy to follow? He works in assembling sequences that have short-term goals to reach. You might not understand the main plot but at each moment in the film, there is a secondary plot that needs immediate resolution that requires all your attention. In the end, it’s like a magic trick: you get distracted so many times that you end up liking the experience even if you don’t know how you got to it. He also takes pride in switching regularly the tone of the movie in those scenes. He alternates between a war movie, comedy or pure spy tension when needed. It works surprisingly well as all of it is woven in the larger adventure genre. It feels kind of like watching a new Indiana Jones adventure without the archeology part.

Coming back to the story, the first focus of Tsui Hark was to get rid of the political themes that were carried by the novel. Qu Bo, the writer of the novel, was in the PLA and one of the characters Yang Ziron (played by Zhang Hanyu) is based on a real life person. His book was heavily used during the Chinese Cultural Revolution to teach and preserve the « true » Communist ideology. It has even been adapted into a film in 1970: Taking Tiger Mountain By Strategy directed by Xie Tieli. Adapting this novel once more for Tsui Hark has the opportunity to get the project approved and funded by the Chinese censorship and make a truly spectacular movie out of it. Putting politics aside, the movie ends up being a fight between good, represented by the soldier s of the PLA, and the ultimate evil, personified by Hawk, the leader of the bandits.

I won’t tell how the movie ends but, during the credits, you get a final rush of adrenaline with a kick-ass action scene. To me, it feels like Tsui’s way of showing how he saw the final fight if he had had a total creative control. From what I’ve heard, this sequence was always scheduled to appear during the credits. Even though it feels a bit out of place, this is so rare to be brought back into a movie after the emotional climax for more zaniness. I’ll let you make your mind upabout it.

Verdict: The perfect blend of impressive action sequences and tension in a blockbuster for all audiences. The proof that Chinese censorship cannot restrain creators of this magnitude.~

The Asian Cinema Critic’s Patented Ratings System Overall entertainment: 9/10 Violence: 6/10 Sex: 1/10 Style over substance: 11/10 (yes, « this goes to 11 »)

The Taking of Tiger Mountain (2014) Also known as 智取威虎山 (Zhì qu weihu shan)

Director: Tsui Hark Main writers: Jiangxin Huang (screenplay), Bo Qu (novel)

Zhang Hanyu – Yang Zirong Tony Leung Ka-fai – Hawk Kenny Lin Gengxin – Shao Jianbo (Captain 203) Yu Nan – Ma Qinglian Tong Liya – Bai Ru (Little Dove) Han Geng – Jimmy Chen Xiao – Gao Bo Mo Tse – Ma Baojun

review by @gbouqueau

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Behind the Scenes with Andrea Chase

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THE TAKING OF TIGER MOUNTAIN (Zhì qu weihu shan)

March 19, 2016 By Leave a Comment

THE TAKING OF TIGER MOUNTAIN has blood, guts, and sentiment.  Based on actual events, and on the novel by Bo Qu, it’s a sweeping epic of a war film set in northwest China just after World War II has ended, when the government has collapse into corruption, bandits are terrorizing the villages, and the People’s Liberation Army is struggling to get a foothold in the Chinese Civil War.  There are heroes, villains, a doughty little boy, and, in keeping with the title, a tiger.

The small but stalwart PLA squad is led by Captain 203 ( Kenny Lin) , who, as the film begins, is down to rations that are more water than soup, and a troubling lack of munitions as the winter snows approach.  They are also being mistaken for the neighborhood bandits, thanks to said bandits dressing as soldiers when the loot and pillage. Help is on the way, though, in the person of Yang ( Hanyu Zhang) , a smooth-talking stranger from headquarters traveling with Bai (Liya Tong) a medical officer HQ also sent along. Bai is a comely lass, and is soon dubbed Little Dove by the squad’s motley crew of dedicated freedom fighters.  She also comes in handy as a mother figure for the refugee child that mistakes the squad for bandits and has to be tamed, the which, of course, he is, and then goes on to turn the gruff soldiers into teddy bears.

Tony Ka Fai Leung

It’s madness, and hopeless, but with so much at stake, including the villagers who take in the squad, Yang comes up with a daring plan. He will infiltrate Lord Hawk’s gang by pretending to be a defector from his rival, and once inside, help 203 destroy the stronghold from the inside.When it comes to light that the government is planning to set the two local rival gangs against each other, but not before they have decimated the PLA squad, 203 realizes that he must take action against the more powerful of the bandits, Lord Hawk ( Tony Ka Fai Leung) , by storming the former Japanese stronghold where he holds sway on top of the eponymous mountain.

Like all good plans, it’s simple and straightforward. Like all good action films, it’s never that easy.  What ensues are close calls, dangerous suspicions, and a femme fatale with a secret that might ruin Yang’s plan.

Originally released in 3D, there is a stylization to the action that bespeaks bullets, wild beasts, and an avalanche spilling off the screen directly at the audience. That, coupled with a Peckinpah-esque slo-mo approach to displaying carnage lend a balletic quality to the proceedings. Bullet strikes produces great gobbets of blood and other assorted ejecta that arch gracefully into space as they produce grief and death.  There is also an exuberance to the battle sequences, with skirmish piled on skirmish with imaginative variations involving horses, kludged cannons, too many close calls to count.

Hanyu Zhang

None of this, as nicely realized as it is, would work if there people involved weren’t capable of engaging us emotionally. And fortunately, among the archetypes, there is Yang. With a rakish beard, patent-leather hair, a tone of conviction and endless tricks up his sleeve, he is a charismatic enigma. An actor of less charisma and sheer star power would have made him a caricature, but Zhang Hanyu makes for an effortlessly commanding presence. Where Lin Gengxin as the captain is handsome, brave, wise, and compassionate, Zhang is bold, fearless, clever, and, well, also compassionate. He’s just more fun playing cat and mouse with his rivals as he worms his way into Lord Hawk’s confidence with an unmistakable trace of a twinkle in his eye. He’s even more fun being the mouse to a rampaging tiger in a battle of wits among the trees. You don’t doubt for a minute that he can not only pull it off, but do so with a stylish panache.  As his nemesis, Lord Hawk, former matinee idol Tony Leung Kar-Fai is transformed into a decaying lump of flesh beneath of mountain of luxuriant furs, but with a sneer and a sinister sang froid that makes even the way he sits seem dangerous. As Bai, Tong Liya is suitably nurturing and tough, with an ability to let a single tear drop from one eye that evinces a world of grief.

THE TAKING OF TIGER MOUNTAIN could get to the point a bit more quickly. While the framework of a Chinese man traveling home to China in the present does pay off with resounding success in terms of tying up the story and offering a literal flight of fancy, a half-hour or so could easily be trimmed from the initial introduction of 302 and Yang. Once it gets going, it’s a thrill-packed adventure with soldiers on skis, murderous plot twists, precipitous zip-lining, and cut-throat mah jong.

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40 facts about elektrostal.

Written by Lanette Mayes

Modified & Updated: 02 Mar 2024

Reviewed by Jessica Corbett

Elektrostal is a vibrant city located in the Moscow Oblast region of Russia. With a rich history, stunning architecture, and a thriving community, Elektrostal is a city that has much to offer. Whether you are a history buff, nature enthusiast, or simply curious about different cultures, Elektrostal is sure to captivate you.

This article will provide you with 40 fascinating facts about Elektrostal, giving you a better understanding of why this city is worth exploring. From its origins as an industrial hub to its modern-day charm, we will delve into the various aspects that make Elektrostal a unique and must-visit destination.

So, join us as we uncover the hidden treasures of Elektrostal and discover what makes this city a true gem in the heart of Russia.

Key Takeaways:

• Elektrostal, known as the “Motor City of Russia,” is a vibrant and growing city with a rich industrial history, offering diverse cultural experiences and a strong commitment to environmental sustainability.
• With its convenient location near Moscow, Elektrostal provides a picturesque landscape, vibrant nightlife, and a range of recreational activities, making it an ideal destination for residents and visitors alike.

Known as the “Motor City of Russia.”

Elektrostal, a city located in the Moscow Oblast region of Russia, earned the nickname “Motor City” due to its significant involvement in the automotive industry.

Home to the Elektrostal Metallurgical Plant.

Elektrostal is renowned for its metallurgical plant, which has been producing high-quality steel and alloys since its establishment in 1916.

Boasts a rich industrial heritage.

Elektrostal has a long history of industrial development, contributing to the growth and progress of the region.

Founded in 1916.

The city of Elektrostal was founded in 1916 as a result of the construction of the Elektrostal Metallurgical Plant.

Located approximately 50 kilometers east of Moscow.

Elektrostal is situated in close proximity to the Russian capital, making it easily accessible for both residents and visitors.

Known for its vibrant cultural scene.

Elektrostal is home to several cultural institutions, including museums, theaters, and art galleries that showcase the city’s rich artistic heritage.

A popular destination for nature lovers.

Surrounded by picturesque landscapes and forests, Elektrostal offers ample opportunities for outdoor activities such as hiking, camping, and birdwatching.

Hosts the annual Elektrostal City Day celebrations.

Every year, Elektrostal organizes festive events and activities to celebrate its founding, bringing together residents and visitors in a spirit of unity and joy.

Has a population of approximately 160,000 people.

Elektrostal is home to a diverse and vibrant community of around 160,000 residents, contributing to its dynamic atmosphere.

Boasts excellent education facilities.

The city is known for its well-established educational institutions, providing quality education to students of all ages.

A center for scientific research and innovation.

Elektrostal serves as an important hub for scientific research, particularly in the fields of metallurgy, materials science, and engineering.

Surrounded by picturesque lakes.

The city is blessed with numerous beautiful lakes, offering scenic views and recreational opportunities for locals and visitors alike.

Well-connected transportation system.

Elektrostal benefits from an efficient transportation network, including highways, railways, and public transportation options, ensuring convenient travel within and beyond the city.

Famous for its traditional Russian cuisine.

Food enthusiasts can indulge in authentic Russian dishes at numerous restaurants and cafes scattered throughout Elektrostal.

Home to notable architectural landmarks.

Elektrostal boasts impressive architecture, including the Church of the Transfiguration of the Lord and the Elektrostal Palace of Culture.

Offers a wide range of recreational facilities.

Residents and visitors can enjoy various recreational activities, such as sports complexes, swimming pools, and fitness centers, enhancing the overall quality of life.

Provides a high standard of healthcare.

Elektrostal is equipped with modern medical facilities, ensuring residents have access to quality healthcare services.

Home to the Elektrostal History Museum.

The Elektrostal History Museum showcases the city’s fascinating past through exhibitions and displays.

A hub for sports enthusiasts.

Elektrostal is passionate about sports, with numerous stadiums, arenas, and sports clubs offering opportunities for athletes and spectators.

Celebrates diverse cultural festivals.

Throughout the year, Elektrostal hosts a variety of cultural festivals, celebrating different ethnicities, traditions, and art forms.

Electric power played a significant role in its early development.

Elektrostal owes its name and initial growth to the establishment of electric power stations and the utilization of electricity in the industrial sector.

Boasts a thriving economy.

The city’s strong industrial base, coupled with its strategic location near Moscow, has contributed to Elektrostal’s prosperous economic status.

Houses the Elektrostal Drama Theater.

The Elektrostal Drama Theater is a cultural centerpiece, attracting theater enthusiasts from far and wide.

Popular destination for winter sports.

Elektrostal’s proximity to ski resorts and winter sport facilities makes it a favorite destination for skiing, snowboarding, and other winter activities.

Promotes environmental sustainability.

Elektrostal prioritizes environmental protection and sustainability, implementing initiatives to reduce pollution and preserve natural resources.

Home to renowned educational institutions.

Elektrostal is known for its prestigious schools and universities, offering a wide range of academic programs to students.

Committed to cultural preservation.

The city values its cultural heritage and takes active steps to preserve and promote traditional customs, crafts, and arts.

Hosts an annual International Film Festival.

The Elektrostal International Film Festival attracts filmmakers and cinema enthusiasts from around the world, showcasing a diverse range of films.

Encourages entrepreneurship and innovation.

Elektrostal supports aspiring entrepreneurs and fosters a culture of innovation, providing opportunities for startups and business development.

Offers a range of housing options.

Elektrostal provides diverse housing options, including apartments, houses, and residential complexes, catering to different lifestyles and budgets.

Home to notable sports teams.

Elektrostal is proud of its sports legacy, with several successful sports teams competing at regional and national levels.

Boasts a vibrant nightlife scene.

Residents and visitors can enjoy a lively nightlife in Elektrostal, with numerous bars, clubs, and entertainment venues.

Promotes cultural exchange and international relations.

Elektrostal actively engages in international partnerships, cultural exchanges, and diplomatic collaborations to foster global connections.

Surrounded by beautiful nature reserves.

Nearby nature reserves, such as the Barybino Forest and Luchinskoye Lake, offer opportunities for nature enthusiasts to explore and appreciate the region’s biodiversity.

Commemorates historical events.

The city pays tribute to significant historical events through memorials, monuments, and exhibitions, ensuring the preservation of collective memory.

Promotes sports and youth development.

Elektrostal invests in sports infrastructure and programs to encourage youth participation, health, and physical fitness.

Hosts annual cultural and artistic festivals.

Throughout the year, Elektrostal celebrates its cultural diversity through festivals dedicated to music, dance, art, and theater.

Provides a picturesque landscape for photography enthusiasts.

The city’s scenic beauty, architectural landmarks, and natural surroundings make it a paradise for photographers.

Connects to Moscow via a direct train line.

The convenient train connection between Elektrostal and Moscow makes commuting between the two cities effortless.

A city with a bright future.

Elektrostal continues to grow and develop, aiming to become a model city in terms of infrastructure, sustainability, and quality of life for its residents.

In conclusion, Elektrostal is a fascinating city with a rich history and a vibrant present. From its origins as a center of steel production to its modern-day status as a hub for education and industry, Elektrostal has plenty to offer both residents and visitors. With its beautiful parks, cultural attractions, and proximity to Moscow, there is no shortage of things to see and do in this dynamic city. Whether you’re interested in exploring its historical landmarks, enjoying outdoor activities, or immersing yourself in the local culture, Elektrostal has something for everyone. So, next time you find yourself in the Moscow region, don’t miss the opportunity to discover the hidden gems of Elektrostal.

Q: What is the population of Elektrostal?

A: As of the latest data, the population of Elektrostal is approximately XXXX.

Q: How far is Elektrostal from Moscow?

A: Elektrostal is located approximately XX kilometers away from Moscow.

Q: Are there any famous landmarks in Elektrostal?

A: Yes, Elektrostal is home to several notable landmarks, including XXXX and XXXX.

Q: What industries are prominent in Elektrostal?

A: Elektrostal is known for its steel production industry and is also a center for engineering and manufacturing.

Q: Are there any universities or educational institutions in Elektrostal?

A: Yes, Elektrostal is home to XXXX University and several other educational institutions.

Q: What are some popular outdoor activities in Elektrostal?

A: Elektrostal offers several outdoor activities, such as hiking, cycling, and picnicking in its beautiful parks.

Q: Is Elektrostal well-connected in terms of transportation?

A: Yes, Elektrostal has good transportation links, including trains and buses, making it easily accessible from nearby cities.

Q: Are there any annual events or festivals in Elektrostal?

A: Yes, Elektrostal hosts various events and festivals throughout the year, including XXXX and XXXX.

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