Movies about Swordplay
Toto je pro účely opakované filmové noci: Co obsahují některé filmy docela dost boj s mečem? Pouhá přítomnost mečů nestačí; chceme desítky minut bojových scén. Gladiátor splnil naše potřeby, stejně jako nedávná živá akce Rurouni Kenshin: Počátek. 1998 Muž Se železnou Maskou byl značným zklamáním, téměř úplně postrádal boj s mečem. Princezna nevěsta by z podobných důvodů nebylo vhodné; lidé nebojují s mečem skoro dost často.
vložil 4. číslo do Media & Arts (celkem 34 odpovědí) 14 uživatelů označilo toto jako oblíbené
Highlander (1986) je úžasně zábavný a má podle mého názoru hodně soubojů s mečem.
vložil cakelite v 11:55, 25. ledna 2023 [7 oblíbených]
Maska boje s mečem na úrovni Zorro? Nebo jsou první Piráti z Karibiku dost dobří?
vložil SPrintF v 11:56, 25. ledna 2023 [2 oblíbené]
Hádám, že trilogie Blade ne. střihnout to.
vložil SPrintF v 11:58, 25. ledna 2023 [2 oblíbené]
Film Scaramouche z roku 1952 má údajně nejdelší souboj s jedním mečem v historii filmu – téměř osm minut. Je to první souboj s mečem, který mě rozesmál nahlas poté, co jsem se začal učit historický šerm – jeden z účastníků udělal okázale špatný pohyb, který měl pravděpodobně vypadat působivě, ale člověka by totálně zabil.
Je možné, že celkový čas strávený bojem s mečem ve filmu je kratší, než byste chtěli – už je to dlouho, co jsem to viděl.
Možná budete chtít hledat filmy s Basilem Rathbonem. Ve skutečném životě byl extrémně dokonalým šermířem, ale ve filmech obvykle hrál padouchy, takže musel prohrát.
vložil FencingGal ve 12:07 25. ledna 2023 [7 oblíbených]
Nejlepší odpověď: The Duelists je spojka Ridleyho Scotta přesně o tom, o boji s mečem, ale neviděl jsem to roky a opravdu nedokážu říct, jaké procento filmu tvoří akce meč na meč.
napsal OHenryPacey ve 12:08 25. ledna 2023 [13 oblíbených]
Kill Bill 1 a Kill Bill 2 obsahují podle mých měřítek velké množství soubojů s mečem (a boje z ruky do ruky), ale nevím, jestli vám to stačí.
vložil hydra77 ve 12:09 25. ledna 2023 [4 oblíbené]
Revoluce, televizní seriál.
vložil 4midori ve 12:16, 25. ledna 2023
Nejlepší odpověď: Přišel jsem doporučit The Duellists, které se do značné míry točí kolem bojů pořádaných skvělým Billem Hobbsem s různými zbraněmi, z nichž mnohé jsou meče. (Na samém konci jsou pistole)
Mezi další filmy s Hobbsem inscenovanými souboji patří britské filmy Tři mušketýři.
Dřívější Tři mušketýři z roku 1948 s Genem Kellym jako D’Artagnanem, Lanou Turner jako Milady a Angelou Lansbury jako královnou jsou také hodně zábavní; Kelly je stejně atletický bojovník jako tanečník. D’Artagnan byl zjevně jeho oblíbenou nehudební rolí.
napsal Pallas Athena ve 12:27 25. ledna 2023 [3 oblíbené]
Mezi další filmy s Hobbsem inscenovanými souboji patří britské filmy Tři mušketýři.
Pokud to najdete, tento snímek Tří mušketýrů z roku 1973 je můj zdaleka nejoblíbenější. Ale je těžké najít možnost streamování. Je tu také Čtyři mušketýři, což není pokračování ani tak jako druhý díl.
vložil philip-random ve 12:28 25. ledna 2023 [4 oblíbené]
(Bill Hobbs také zinscenoval rvačky v Rob Roy (1995), ale ten nese obsahové varování před sexuálním napadením jako hlavní zápletku. Boje jsou však opravdu dobré)
napsal Pallas Athena ve 12:35 25. ledna 2023 [2 oblíbené]
Princezna
zveřejnil 1970. ledna 12 ve 38:25 Antihero ze 2023. let
Crouching Tiger, Hidden Dragon má docela dost boje s mečem, stejně jako ostatní wuxia filmy jako Hero a House of Flying Daggers
přidal spící medvěd 12. ledna 45 ve 25:2023 [17 oblíbených]
Ty se mi okamžitě vybavily, i když už je to nějaký čas, co jsem je viděl. Ninja Assassin nemusí mít tolik čistého boje s mečem, po kterém toužíte, ale je tam *hodně* bojů, takže se může přidat k požadovanému množství.
Azumi
Ninja zabiják
Slepý šermíř: Zatoichi
vložil malthusan ve 12:52 dne 25. ledna 2023
Bláznivý samuraj Mushashi?
1 hodina 31 minut šermu, to vše v jednom záběru (s několika skrytými střihy).
napsal d_hill ve 1:01 25. ledna 2023 [3 oblíbené]
Mark of Zorro. Možná Flynn verze Robina Hooda (viz odkaz Basil Rathbone výše).
vložil sardonyx ve 1:08 25. ledna 2023 [1 oblíbený]
Ach! Taky jsem zapomněl dodat Princezna z minulého roku. je to v podstatě Raid v opačném směru s titulární princeznou, která začíná jako zajatkyně na vrcholu věže, než se probojuje zpět dolů z věže, aby unikla.
Spousta bojových umění, akce atd. se mísí s nějakým robustním šermem. Joey King (nedávno byla v Rychlovlak) je skvělá v hlavní roli.
napsal d_hill ve 1:11 25. ledna 2023 [1 oblíbený]
Pokud jste otevřeni jiným druhům výzbroje na blízko, existuje extrémně bohatá zásoba starých hongkongských bojových umění Shaw Brothers, ze kterých můžete čerpat. Můj osobní favorit je The New One Armed Swordsman; je to šílené a v této závěrečné scéně mostu dosahuje svého vrcholu oříšků.
Tyto filmy jsou přímou inspirací pro všechny bravurní bojové sekvence v Kill Bill Vol 1. Představují celý svět k prozkoumání samy o sobě, takže pokud je mají lidé rádi, můžete sledovat další a další z nich.
vloženo uživatelem billjings ve 1:15 25. ledna 2023 [2 oblíbené]
Pokud vás také zajímá jen sbírat klasické souboje, Potop, The Deluge je vysoce hodnocena lidmi, kteří komentují šermířské souboje v komentářích na YouTube. Nemohu však mluvit o tom, zda je oslavovaný souboj jediným šermem ve filmu.
napsal Caxton1476 ve 1:22 25. ledna 2023
Neviděl jsem to, ale Alatriste (aka kapitán Alatriste: Španělský mušketýr) má několik dobře zhodnocených šermířských soubojů a hraje v nich Viggo Mortensen.
vložil mogget ve 1:54 dne 25. ledna 2023
Excalibur!
(vzorek)
napsal Rash ve 2:34 25. ledna 2023 [1 oblíbený]
Nejlepší odpověď: Budu třetí V Duellists. V každém je souboj s mečem. možná půl hodiny? Bojují nejméně čtyřikrát, IIRC. Jednou dokonce na koni!
vložil Stuka v 3:04 25. ledna 2023 [3 oblíbené]
je to televizní pořad, ne film, ne všechny boje s mečem (bojová umění někdy s meči, jinými zbraněmi, rukama. světová domýšlivost spočívá v tom, že neexistují žádné zbraně, takže bojová umění), trochu krvavé, ale obvykle jsou 2 nebo 3 velké bojové scény na epizodu a choreografie je opravdu dobře udělaná
vložil kokaku v 3:21 25. ledna 2023 [2 oblíbené]
Samurajské filmy jako Yojimbo přijít na mysl. Taky, Poslední Samurai (2003). Značka Zorro (1940) a Maska Zorro (1998).
vložil gudrun v 3:48 25. ledna 2023 [1 oblíbený]
Korejský film The Swordsman (2020) je nedávný film s několika docela dobrými souboji, i když jako film je to jen tak tak.
Jsem velkým fanouškem filmů Zatoichi, které, pokud neznáte, jsou dlouhodobou sérií filmů ze samurajské éry z 60. a 70. let sledujících dobrodružství slepého šermíře (a maséra). Souboje s mečem jsou obvykle rychlé díky jeho typickému rychlému tasení a přesilovosti, ale jeden s velkým množstvím soubojů (stejně jako můj oblíbený trik s mečem) je Zatoichi and the Chest of Gold (1964), můj oblíbený. Nejbojovnější je však pravděpodobně Zatoichi: Tma je jeho spojencem z roku 1989, poslední z filmů Shintaro Katsu. (Doporučuji se za každou cenu vyhnout té z roku 2003. Digitální meče.)
Verzi 2010 vrahů (Jûsan-nin no shikaku) z roku 13 režíruje nikdo jiný než Takashi Miike a byla opravdu velmi dobrá, spousta šermířských soubojů a skulduggerství.
vložil BlackLeotardFront v 4:06 25. ledna 2023 [3 oblíbené]
Reakce plakátu: SPrintF, původní Piráti z Karibiku se pohybují kolem spodní hranice požadovaného rozsahu podle účastníků filmového večera. Jsou tam minimálně 3 šermířské souboje a jsou výrazné. (Už byl zařazen do užšího výběru.)
zveřejněno 4. číslem v 4:28 dne 25. ledna 2023
Existovala živá akční adaptace Blade of the Immortal (trailer), která pravděpodobně funguje.
zveřejnil juv3nal v 5:59 dne 25. ledna 2023
Mušketýr z roku 2001 má spoustu šermířských choreografií ve stylu wire-fu. Tady je trailer, abyste viděli, jestli se vám to líbí.
vložil ambulatorybird v 7:43 25. ledna 2023 [1 oblíbený]
Pokud si vezmete animaci, princezna Mononoke má, pokud si vzpomínám, docela dost scén boje s mečem.
A pokud jste ochotni jít do Shakespeara, Kenneth Branagh Henry V by měl mít poměrně hodně akce s mečem. Většina her Historie bude v určitém okamžiku zahrnovat boj s mečem.
vložil brookeb ve 9:52 dne 25. ledna 2023
Filmy Lone Wolf a Cub
vložil oldnumberseven ve 11:26 25. ledna 2023 [1 oblíbený]
13th Warrior (1999)
napsal TrishaU v 2:19, 26. ledna 2023 [1 oblíbený]
Mám pocit, že můj život vedl k doporučení Mečem v hlavní roli s F. Murrayem Abrahamem a Ericem Robertsem. Nejsměšnější (a možná jediný!) film o šermu, jaký byl kdy natočen.
přidal JuliaKM v 6:28, 26. ledna 2023 [7 oblíbených]
Chtěl jsem sem napsat obsáhlou odpověď, ale nemám čas. Pro tuto chvíli jen řeknu: pro extrémní šermířské filmy potřebujete hongkongská kina wuxia klavír žánr a potřebujete japonský šermířský subžánr, zejména filmy z 1960. let a zejména bMeč zkázy.
Ale nejslabší zastávkou metra ve Swordtownu je bezpochyby film Tsui Harka Čepel. (Neplést s filmy Wesleyho Snipese.) Je to šermířský ŠKOL a jeden z vizuálně nejpůsobivějších filmů, jaké jsem kdy viděl.
napsal Dr. Wu ve 2:44 26. ledna 2023 [1 oblíbený]
Právě jsem minulý týden sledoval film (filmy) Richarda Lestera Tři mušketýři na Amazon Prime, takže tam možná stále je.
přidal kitten kaboodle v 3:40, 26. ledna 2023
Hidari — stop motion samurajský film
napsal oldnumberseven ve 10:03 dne 3. března 2023
«Starší Existuje způsob, jak vyhledat historické členy námořnictva. | Pomozte mi najít 2 poslední skladby/videa, s malým množstvím. Novější »
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Fencing in the movies
Sword fighting in the movies has been a primary source of the modern public’s awareness of fencing. In 1920 Douglas Fairbanks’s silent film Značka Zorro gave the world a fresh image of the heroic swordsman. From this moment on, fencing was associated with swashbuckling adventure. Before Zorro, movie fencing consisted of some fairly primitive blade whacking. Fairbanks was the first to ask a fencing master to advise on a production, creating the first movie swordplay that actually resembled fencing. Fairbanks’s best fencing films include Tři mušketýři (1921) Don Q, syn Zorro (1925) Černý pirát (1926), a Železná maska (1929). Other silent-film actors who fenced in their films with varying degrees of success included Ramon Novarro, Rudolph Valentino, and John Barrymore. The leading fencing masters working in films of this period were Henry Uttenhove and Fred Cavens.
The next wave of movies to feature fencing came in 1935, spurred on by Errol Flynn’s Kapitán Blood, v Kapitán Blood the fencing was more intricate and expertly staged than in earlier, silent films. Some of the most popular swashbuckling films of this era—and the actors who starred in them—included Ronald Colman in Vězeň Zendy (1937); Errol Flynn in Dobrodružství Robina Hooda (1938) Hawk moře (1940), a Dobrodružství Dona Juana (1949); Tyrone Power in a remake of Značka Zorro (1940) a Černá labuť (1942); and Douglas Fairbanks, Jr., in Korsičtí bratři (1941). The most successful fencing masters working in Hollywood at this time were Fred Cavens, Ralph Faulkner, and Jean Heremans.
There were few large-scale films featuring fencing in the 1950s and ’60s, as Hollywood shifted its primary focus to realism and psychological drama. The few popular sword-fighting films of this time were Cyrano z Bergeracu (1950), featuring José Ferrer; Scaramouche (1952) a jeho remake Vězeň Zendy (1952), both of which starred Stewart Granger; and At Sword’s Point (1952) with Cornel Wilde. Cavens, Faulkner, and Heremans were still the major fencing masters in film at the time.
The third incarnation of swashbuckling films arrived in the mid-1970s, beginning with director Richard Lester’s Tři mušketýři (1973). At this juncture movie fencing began to reflect directors’ desire for historical accuracy, and the action took on a more realistic look. Films highlighting fencing in this period included Lester’s sequel to his Tři mušketýři, nárok Čtyři mušketýři (1974); Ridley Scott’s V Duellists (1977); horal (1985), featuring Sean Connery; the comedy Princezna nevěsta (1987); Pán prstenů trilogy (2001–03); and the Pirates of the Caribbean films (2003– ), starring Johnny Depp. Also of note were the films in the Star Wars series (1977– ), which feature a kendo-type of fencing with sabres that have blades of light.
However, movie fencing remains a poor representation of actual fencing technique. Sword fighting for the movies requires broad, flashy, and easily followed actions to produce a dramatic effect. The art and sport of fencing, on the other hand, requires precise and economical actions to be successful.
Movies about Swordplay
Následuje přepis videa.
David Rawlings: My goodness, this is terrible. There is so much bad in this.
Hi, there. My name’s David Rawlings, with the London Longsword Academy. I’m a full-time swordsmanship instructor, and today I’m gonna have a look at a load of clips about sword fighting and slag them off hideously.
«The Witcher» (2019)
So, basically what I have with me here is a longsword. Longsword for me is generally a sword which is held in two hands, so it doesn’t matter whether the grip is short or long, it doesn’t really matter. You have a pommel, a cross guard, a grip, a blade. Usually within fencing, we divide that into two halves, but different authors divide it into different divisions. So, we’ll have a strong half, which is the half from the middle to the hilt, and then from the middle down to the point is the weakest part, and we’re just really looking at the geometry and leverage.
You get this big thing in historical European martial arts, as I do, but you’re not allowed to carry swords on your shoulder, because that’s really, really frowned upon, and no one would ever do it. Except there’s actually critique in manuals saying that you shouldn’t do it, which implies that people do do it. So, carrying the sword in your hand is a very, very good thing, and you see this a lot, people holding a sword on their shoulder and just walking around with it without a scabbard on, necessarily, so it’s ready to use.
I have issues with this particular fight, because there’s a lot of reverse grip, with the sword being held backwards down here. It’s not a good way for you to use the sword. You sacrifice your ability to fend above, very, very clearly. You have not got any reach. It’s not safe. But he’s changed grip, yay! Oh, and he’s back. I like how he moves. I think he’s got a good organic feel to him. Generally, the sword is being moved in front of him, which is a very, very good thing. It’s very rarely just kept behind him, so he’s closing the space off between him and his opponent with the sword.
One of the things I like about some of «The Witcher»‘s fight scenes is that there is this idea of moving between the opponents. And you see this in things like Godinho, where the idea of spinning, something which people really, really quite often frown upon within the HEMA community, is very much used because you’re trying to keep opponents away from each other, so it’s not just about fighting you and concentrate in moving into you; it’s against driving you back and then hitting the next person, the next person, the next person.
So these spinning moves actually become quite important, and this angled, sinister, straight-into-you idea goes out the window. It’s not this focus. Suddenly it’s much more wide, and it’s a flurry. The thing is, is most of my judgment on this fight scene is actually Henry Cavill being very, very good physically. And what is shown in this fight scene being probably the most disappointing fight scene in «The Witcher.» So, for Henry Cavill, it’s gonna have, like, an eight. For actual quality of fighting, it’s gonna have about four.
«Gladiátor» (2000)
So, there’s bits in there that actually aren’t too bad, looking at it. There’s evasions of the blade from the emperor, which could be accidental, but you have these movements of just moving around as the parry’s coming in. That’s actually not too bad. You see this kind of thing quite often. You see it in Destreza when opponents are moving around each other. Where a parry comes in, you disengage underneath as it’s happening. So you have potential for some actually quite interesting movements in there.
Good parry. You see that in Talhoffer, usually accompanied by a wrap, because of the closure and the close distance. Kicking up the heels is referred to in quite a few treaties, quite often accompanied by a movement onto the jaw as well.
So potentially within this fight scene, I’d say in those last two actions, from the cover to the kick with the legs and sweeping up of the heels, I’d say those are actually quite good actions. Usually you’d see more control of the opponent’s weapon arm, or their balance with the off hand as well, but that part’s actually reasonably good. So, for that I’m actually gonna give it a six because I think those two aspects save it slightly
«47 Ronin» (2013)
OK, so, again we’ve got some very, very good bits on this. The first bit of this is the shunting away of the opponent. I really, really like this. He creates distance between the two opponents. Now, you could argue that maybe he’d want to push the opponents into each other, but he has a very, very good instinctive response. Push one away, get the weapon from it, and then on to the other one. And then a good clean finish on one of the cuts. Nothing posh, just a simple cut of wrath in effect. Pretty good! I’d give that a seven.
I think that’s quite a comfortable thing. Again, I think it’s very easy within judging this from a HEMA perspective to get very focused on an individual, and this is showing good awareness of space, maintaining that distance, and then simple finishes, nothing posh.
«Die Another Day» (2002)
So, immediately, the first attack is this big, I’ll spin at you, I’ll expose my back, and the distance is so bad that he could just be stabbed in the back.
Yeah, it’s a broadsword or a saber or something, therefore you have to go and cut candles or scenery. You don’t use this like this. This is terrible. Quite often in Japanese swordsmanship, you’re moving the glass deposits, the slag deposits effectively, silicon deposits that can be in steel. You’re moving those throughout the entirety of the length of the blade, and through those foldings, you basically, you spread that out. So you make sure that your blade hasn’t got one particular weakness. Now, with European swords, before we had that consistency, we did something very similar, except that we twisted them like string, so that if one thread was weak then that could be a problem in itself, but you have multiple threads, and twisting them around each other, you create something stronger. That said, swords do snap, swords do bend, and there’s always a fine point, and you can’t guarantee. The process is not perfect, even nowadays with much more clear definitions of how steel should be made and produced, blades still break, so it’s not impossible for this to happen.
So, this is where it really gets quite terrible. There’s this insane idea that somehow longswords are really heavy, clumsy weapons. They are not! You can move a longsword much more quickly and much more dexterously than you can a rapier. It’s still balanced as if to be used in one hand, but you have the advantage of being able to move it around this position of the forward hand. Now, even the most barbaric moment of a longsword, the barbaric technique, we have a technique called the strike of wrath, which is a strike that uses the entirety of the anterior oblique slings. That’s the most powerful strike you can do, but it’s not done foolishly. It’s done as a mechanic. It’s a way of claiming space in front of you. Claiming that space for yourself, killing with it if you can, and then going on to pursue your opponent through that. Wide swings don’t serve anybody, and they represent the actual piece of equipment very, very poorly.
Doing a spin when you’re not engaged with the opponent’s blade is insane, because you don’t know what their sword is doing. And because you’re so close and you don’t know where their sword is, obviously they can cut you freely, because they’re still facing at you, they still have all of their requisite safety in their hands. Three, four out of 10.
«Princezna nevěsta» (1987)
This, in case you didn’t know it, is the best fight scene ever in any film ever. The fencing in it is completely irrelevant. The fencing is part of a narrative device, it’s not meant to overwhelm you, it’s just there, happening while the dialogue does.
Inigo: You’re using Bonetti’s defense against me, huh?
Westley: I thought it fitting, considering the rocky terrain.
David: There’s references to Bonetti’s defense. I don’t even really know what that is. But references to Thibault, and Thibault’s one of my favorite systems, but they’re not showing any awareness of Thibault. Thibault operates on the idea of the perfect angle that you see in a lot of Spanish swordsmanship and destreza particularly, here where you have a 90-degree angle, which is maintained as much as possible. And you don’t make lateral movements with your arms. But all of this is what we call vulgar angles, where the point is higher than the hilt, and lots of lateral movement.
Inigo: Naturally. You must expect me to attack with Capo Ferro.
Westley: Naturally. But I find that Thibault cancels out Capo Ferro.
David: Rapier, some people will call it a side sword. The divisions are really a later thing. We don’t worry about it too much. It’s a sword that you hold in one hand. Now, again, we have the quillons. Quite often, or it could just be like the cross guard in effect, quite often people would hold this simply like so without their finger over the bars, and these extra rings would be to stop things from landing on your fingers when you’re holding the sword normally. And this allows you to put your thumb on there. Later on, you start seeing people holding the sword like so. OK? But it’s not universal. Sometimes it is just used like this. OK? Sometimes these are very, very ornate, as you can see here, there’s a lot of wire around here. And then sometimes, it’s just a simple cup.
Westley: There’s something I ought to tell you.
Westley: I’m not left-handed either.
David: The idea of being able to fence with both hands shouldn’t be necessarily a problem. Fighting somebody who is differently handed to you as well shouldn’t be an uncommon experience, so this kind of thing, although it’s amusing, you don’t want to do this sort of thing at close distance, because obviously while you’re busy changing your sword hand, your opponent can stab you and this kind of thing. Here, you have a bit where as the blade comes through, it disengages, so you’re having the blade changing from one side to the other. And in order to fight that, what you’re doing is, rather than doing lateral parryings like this, you’re wrapping the blade and you’re staying engaged to it. And that can be used to throw the opponent’s sword out their hands. So there’s a degree of reality in that. It’s good. Technically wise, I’d still give it sort of like a six, seven. Even with its parody fencing, it still has better fencing than a lot of the others.
«Hra o trůny» (2011)
That’s quite nice, because in effect, you have a very, very nasty version of a movement of conclusion. This is basically where in using a sword to parry, here we then do something with the off hand. If we were doing Verdadera, the idea would be to restrain the opponent’s weapon hand so it can control it. And we can choose whether they live or die, and we can show mercy at this point. If you’re doing this, this is lovely. He doesn’t have to worry about the guy’s off hand so much, because the guy has both hands on the sword, there’s a closure off of the line, and the guy giving him the distance. Because he doesn’t have to move his feet. The guy’s gonna come and hit him anyway. He gets to push it aside. He gets to thrust through. He’s got control of the opponent’s sword, still, and he gets to finish him. So that, I actually quite like. That’s pretty good.
I’m not entirely sure holding your hand palm down with a longsword is a good way not to get the sword taken. Oh, my goodness, this is terrible. There is so much bad in this. Again, we’re back on this idea that if you’ve got a longsword, you have to do this with it, and it has to be wide and spinny, and it has to be these big moves. It’s meant to be dexterous. You have this idea that there’s basically half an el. The idea of being this kind of space here, rather halfway between here and here. You don’t wanna be more than this way far away from your opponent with the point at all times, so if they drive you away, you’re trying to find a way to get your point onto them. Most longsword is intrinsically trying to dominate a space very, very close into the corner of your opponent. If they move you sufficiently around, you’re immediately back at another opening. If they stay tight on the blade and the angle’s tight, just enough to parry like so, you’re trying to drive the blade in and still maintain a contact on there. All this wide-around movement is complete nonsense.
OK, knocking the blade down and striking back up. Now, you could argue that this is almost a nodding, in effect. The idea of beating someone’s blade down and then hitting back up with the false edge. Here you see where the sword is sweeping wide and one person is standing with their point right in front of the other. You don’t parry then come back here. You stand here, and you stab them immediately, because the blade has moved out of presence.
Well, that was good. Yep, if someone has got their back you and you have a spear, do stab them in the back of the leg. That, again, redeeming feature, that’s given it another point.
So, I quite like the fight scene between Brienne of Tarth and Arya. I think that’s quite good. It’s cohesive. It has that real focus to it so the movement is constant. Neither of them is really sacrificing. There’s no great pauses. There’s always, I want to be back in the fight. I want to be back in it. I do like, in general, the Hound fights because they are just, like, eh, pff, dead. That’s good, and I think having that idea that a blade is intrinsically there to either stab someone or hit them with it and remove all the, sort of, like, fussy detail is a very good thing to have in a series.
«The Scorpion King» (2002)
First, the twirling is dreadful. But the blades are all over the place. There’s no safety in them. And now, being focused on a single opponent, we could use the sword in a much more efficient way. Even if I were to twirl the swords towards you, you’d always want one blade in presence, always one blade doing something. Never having the swords over here.
At that point, I think the idea of restraining two weapon hands becomes more important than actually taking the weapons out of the hand. So at that point, I would suggest that, potentially, you’re looking at a way of either throwing the opponent as far from you as possible. Throwing them down the really big hole on the other side of you might be a good thing. Producer: Do you have a mark out of 10 for that one? David: Uh, two.
«Kill Bill: Volume 1» (2003)
Yep, she’s dead now. Yeah, you’re really looking at just absolute theater here. And that’s fine. It is what it is. But it’s terrible, terrible sword fighting. This idea of driving people apart to fight; so, you don’t want to be standing still. You don’t want people to be managing the space while your space is getting more and more cramped.
One of the things that is misunderstood quite often is that in pattern-welded blades, quite often these were given mirror polishes. And I believe, unless this is anecdotal, that there’s reference to people blowing on the blades, so that the breath actually brings out the pattern weld for a moment, so you can see it. So, yeah, blades historically are incredibly highly polished in various different places. Certainly in Japanese swords, that’s a thing, certainly European swords, it’s a thing.
Interesting tactical decisions here. So you have a point where somebody has control of the blade, and if you think, like, of parrying daggers, you have really options to take the blade of the opponent on your dagger or to take them on your sword and to attack them with the other. But in order to do so, you’d want to maintain that contact. So to do an action like this, with the opponent’s blade still directly in the middle, doesn’t make any sense, really. So you had a point of control or a point of control, both of those have been sacrificed. It’s amazing that one of these people didn’t die in the process of this. There should’ve either been disemboweling or a stab or whichever. Or the other person should’ve plowed straight through the middle in the space. From the voting viewpoint of a good cohesive fight scene that involves realistic technique, I’m gonna give that two.
«Star Wars: The Last Jedi» (2017)
OK, the first miracle of this fight is they don’t manage to kill each other. There are forms which consist about fighting around somebody. Usually that other person is disabled so that they’re kind of in a position where you don’t have to worry about them. They’ll be prone or something like this. Or perhaps you’ll be bodyguarding someone, so it’s a way of moving around each other. I would not really like to have my back to someone who is swinging something sharp or burning.
So much of this is almost a method to show how he feels. So you have an expression of emotion going on in the fight scenes, rather than necessarily being this very, very tight, cohesive fight. His anger is always explicit. Everything is these wide, powerful slashes that aren’t necessarily good for defense. It’s so heavily stylized. I think in things like the «Revenge of the Sith,» you have these very, very dynamic fight scenes between Obi-Wan and Anakin, and those, I think, are much more expressive at combat, even if the distance is a little bit funny. Even if they’re standing toe-to-toe and waving the swords around. There’s a lot more aggression and interaction in that. As such, I think I’d give it a five out of 10. As in, it has aspects that I really enjoy.
If I was going for my enjoyment of the fight scene, it would be an eight. I really, really love the Yoda fight scenes. I always have. Again, it’s that point where you separate any desire for reality. It doesn’t have to be real. You know, if it’s got dragons, if it’s got the force, it doesn’t matter. It has to be something expressive of all the things you want in there
«The Mask Of Zorro» (1998)
Yes, absolutely. If you can cut flesh, you can cut fabric. It’s, again, it depends on different things, like how sharp the sword is. But they are made to cut things. The horses were very realistic. Let’s give it a one. [producer laughing]
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