From samurai to Peter Pan, that glint in the eye is steely

By Jack Garner
Gannett News Service

Uma Thurman is cutting edge in "Kill Bill." Gannett News Service

Tom Cruise swings a sword in Japan as a transplanted Civil War veteran in "The Last Samurai." Warner Bros. Pictures

Now sword-playing on video near you "Captain Blood" (1935) "The Adventures of Robin Hood" (1938) "The Sea Hawk" (1940) "The Three Musketeers (1974) "The Empire Strikes Back" (1980) "Rob Roy" (1995) "Blade" (1998) "Gladiator" (2000) "Die Another Day" (2002) "Pirates of the Caribbean" (2003)

Listen. The sound you're not hearing much at the movies these days is gunfire. Today's hot sound is the clash and clink of steel, whether it's Captain Jack Aubrey sword-fighting on the quarterdeck in "Master and Commander" or Nathan Algren twirling two swords in "The Last Samurai."

Heck, even Quentin Tarantino, whose "Reservoir Dogs" and "Pulp Fiction" are paragons of gun violence, now favors the blade. In "Kill Bill," Uma Thurman cuts her way through her adversaries, wielding a terrible, swift sword indeed.

Swords are the weapons of choice in "Timeline," the upcoming "Peter Pan," all of "The Lord of the Rings" films and "The Pirates of the Caribbean." They're also favored in such recent fare as "Crouching Tiger, Hidden Dragon," "Gladiator," the various "Star Wars" films, and even horror flicks like "Blade" (in which vampires are dispatched with cold steel.)

When it comes to today's movies, the sword is mightier than the gun.

Everything in movies is cyclical. Maybe gun violence has worn out its welcome. Maybe too many real guns have been going off in Columbine and Afghanistan and Iraq and in our city neighborhoods, and sadly in our schools. Maybe it's just time for something different.

But fewer guns in films doesn't mean less violence. Au contraire. Sword fights are typically more violent than shoot-'em-ups, often leaving behind a bloody trail of hacked-off heads and limbs. In "Kill Bill," after defeating scores of black-masked baddies, Uma Thurman says, "Those of you lucky enough to have your lives, take them with you! However, leave the limbs you've lost. They belong to me now."

"Kill Bill" demonstrates one possible reason for the increase in swordplay: An increased influence of the Asian esthetic in our movies.

Many of today's filmmakers speak glowingly of the influence of great Japanese and Hong Kong filmmakers — and not only the great Akira Kurosawa, whose "The Seven Samurai" is considered a cinematic touchstone. The success of "Crouching Tiger, Hidden Dragon" with its sword-wielding heroics, shows the Hong Kong influence, as does the forthcoming "Hero," due in April starring Jet Li.

Asian martial arts — especially the sword variety — bring ritual and a code of honor into the process. (The samurai code — the Bushido — is the soul of "The Last Samurai.") In such stories, certain sword makers are considered great artists, like Hattori Hanzo, who creates his masterpiece for Thurman's Bride in "Kill Bill."

"I can tell you with no ego that this is my finest blade," Hanzo tells her. "If, on your journey, you should encounter God ... God will be cut."

Sword fighting allows for dialogue — another plus. When somebody is shot, the scene ends quickly and so does conversation. When adversaries cross steel, they also often talk.

Like the buccaneer in "Pirates of the Caribbean" who tells a lad, "Do you think this is wise, boy, crossing blades with a pirate?"

Or how about the exchange in "The Adventures of Robin Hood" (1938).

Sir Guy of Gisbourne (Basil Rathbone): "Do you know any prayers, my friend?"

Robin Hood (Errol Flynn): "I'll say one for you!"

And if Darth Vader and Luke Skywalker had exchanged gunfire instead of crossing light sabers at the end of "The Empire Strikes Back," Vader might not have had the opportunity to tell Luke, "I am your father."

"The Robin Hood" fight from 1938 remains a pinnacle of the art, as Rathbone and Flynn cast memorable shadows on Nottingham castle.

Rathbone was long considered Hollywood's most talented swordsman. Yet when he fought Flynn in "Captain Blood" and "Robin Hood," the scripts required Rathbone to lose.

That's why they call it acting.