Once the action kicks in, though, "Shadow" is on rails. Zhang, co-screenwriter Li Wei, cinematographer Zhao Xiaoding, production designer Horace Ma, and costumer Chen Minzheng work in seemingly perfect harmony to create a visual scheme that the director has said is based on the brush techniques of Chinese painting and calligraphy. The world they present would read as black and white (and grey) were it not for the flesh tones of the actors' faces and bodies, and the voluptuous dark blood that splatters the screen whenever swords, knives, arrows, and crossbow bolts start to fly.
It's impossible to understate how thrilling "Shadow" is during its middle section, when Zhang is crosscutting between the increasingly knotty intrigue in two cities, a second duel that we've been building toward for 45 minutes, the romantic tension between the Commander and his wife and his double, and a large-scale military action that's intended to retake a city.
Confidently showy in a manner that evokes the most dazzling sequences in Zhang's action classics, the movie takes symbolism that might seem simplistic and overdone (such as the prominent display of the yin and yang symbol in both dialogue and sets) and makes them feel organic to the tale, not in the manner of a novel or play, but an opera or art installation or graphic novel. The true yin and yang of the film is its expressive balance of masculine and feminine elements of design and choreography, especially as they're expressed in combat.
The bluntly macho shapes of swords and halberds (as swung and thrust by confident, scowling men) are contrasted against razor-edged umbrella weapons deployed with deliberately feminine motions (by men as well as women; when combatants get in touch with their feminine side, the movie suggests, they're able to achieve their goals in different, often surprising ways). The bearers of these killer umbrellas practically waltz into combat with them, hips swaying demurely, then use them as toboggans to carry them down steep, muddy hills. A sequence where an umbrella battalion tries to retake an occupied thoroughfare during a rainstorm attains a peak of controlled madness reminiscent of some of the wildest scenes in "Kung Fu Hustle," a classic that wasn't afraid to go full Looney Tunes. When Zhang crosscuts between a duel on a rainy mountaintop and a zither battle happening in a subterranean chamber, with the zither music providing the sequence's melody and the clanging blades percussion, the essence of action cinema is distilled.
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