Aug 1, 2008 Comments (5)
The Mummy: Tomb of the Dragon Emperor
What immediately comes to mind upon viewing these end titles as a stand alone consideration, is that there is great discipline in the master calligrapher's graceful yet contrasting Chinese brush strokes.
His magic carpet ride reminds one of Masaki Kobayashi's "Hoichi the Earless"; only here the Chinese characters -and Kanji, respectively- become life-taking daggers rather than a life-saving shield. Too, I am reminded of splattered ink at the point of impact and the panning flight of a classic aircraft -both seen in the aforeposted "El Don," in addition to owing an incalculable debt to the "300" end titles and, in a true sense, to Frank Miller.
While some frames seem partially rendered (exploding diamond? the odd alignment and spacing of the trekkers? an uninspired mouth of a cave?) others offer flashes of originality (snake-strokes from a blood sun, lettered mountaintop, inkblot blood of fleshless adversaries, a halved opponent, yetis in profile).