A vision of vengeance
A truly intoxicating blend of wuxia fantasy and revenge melodrama, The Lady Hermit revels in cruelty, beauty, and moral extremity. Stripping back an otherwise familiar formula to its barest essentials, there's something to be said about the film's execution that makes the following of said formula ultimately redundant, retaining all of its heart. There are plenty of quintessential Shaw Brothers staples, whether it be lavish sets, saturated colours, or a theatrical artificiality that paradoxically heightens the violence. However, it's thanks to director Ho Meng-Hua that it all happens with a tremendous amount of style and flair. Despite the film's love triangle occasionally threatening to disrupt the impeccable pacing, it's handily compensated for by a truly rousing finale, rife with arterial sprays. The action is all executed to a high standard, filled with rhythm, pose and shock. The violence is sudden and severe, often lingering just long enough to be uncomfortable, reflecting the film's bleak worldview. Even moments of triumph feel poisoned, as if every victory costs something irretrievable. This is not about justice; it is about annihilation. The film certainly benefits from a set of great performances; Cheng Pei-Pei is certainly unforgettable in the titular role, while Lo Lieh is always a treat; however, the show is stolen by Shih Szu. She conveys a striking emotional arc, moving from vulnerability to near-emotionless precision, embodying a protagonist who has consciously sacrificed humanity for vengeance. Notable for its depiction of female rage and power at a time when the genre was still largely male-dominated, The Lady Hermit is a haunting and often unsettling experience, trading heroic romanticism for bitterness and blood. A vision of vengeance that acknowledges empowerment while simultaneously questioning its price, suggesting that survival in a corrupt world may require becoming monstrous oneself.
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