Equilibrium- Top 5 Gun Fu Fight Scenes - Kung Fu Kingdom
Starting with a bang (or several bangs), this scene is our first introduction to John Preston – the most lethal Cleric on the state force.
We also meet his partner ‘Partridge’, played by Sean Bean, who we come to find out is a ‘sense offender’.
Before the carnage ensues, Partridge anxiously glances up at Preston, only giving away his apprehension with a subtle flicker in his eyes.
Preston storms the dwelling where a large group of armed ‘sense offenders’ hide, dual-wielding pistols and surfing into the darkened room on the blown-out front door.
The first appearance of the Gun Kata sets the tone for the whole movie with Preston seamlessly dismantling the rebellious ‘sense offenders’. Using rigid, systematic gun fu, he lights up the room with gunfire while evading all shots from his oncoming adversaries.
When the action finds its conclusion, the Clerics locate a hidden stash of fine art, including the Mona Lisa herself. After a moment of consideration, Preston enacts the brutal ideology of The Tetragrammaton government the only way he knows how: “Burn it.”
Disclaimer: no puppies were harmed in the making of this explosive gun fu fight scene!
Preston has skipped a couple of doses of the emotion-suppressing drug ‘Prozium’ at this point. His humanity creeps in when he saves a puppy from being killed by the government’s enforcers, only now he tries to release his new, wide-eyed friend back into ‘The Nether’ where the rebellion hide out.
When a patrol catches him in the act, a breathtaking display of seemingly improvised Gun Kata obliterates the small army of troops intent on arresting him and killing the puppy.
A real diversity of slow motion shots, quick cuts, and dual-wielding backflips makes this a memorable scene.
Perhaps the most striking aspect though, is the contrast between Preston’s natural empathy for the dog and his brutal retaliation against the soldiers who try to harm it. We truly start to see him turn the coveted Gun Kata into a weapon against its creators.
When Preston’s new, ambitious partner, Brandt begins to suspect Preston of the murders in ‘The Nether’, he confronts him in an all-out swordplay fight with katana-style weapons.
This fight scene is stylistically much more grounded than most others in the film as the Gun Kata itself doesn’t feature. Instead, we get a good old-fashioned one-on-one duel!
The swords used for shooting this scene were made of turned wood, which would frequently break during filming as Christian Bale and Taye Diggs (Brandt) were given full license to strike each other with the weapons.
A real tension underpins this scene as we genuinely feel as though Preston could be exposed for ‘sense offence’ and the murders of the patrol soldiers. The stakes are not immediately life and death but the ramifications of Preston conceding the upper hand to his understudy are massive if he were to be found out.
At this pivotal point in the film, Preston commits to aiding the rebellion in escaping a government raid.
It is another scene that departs from the usual ‘shoot-em-up’ gun fu style of the film as Preston repurposes his handguns in hand-to-hand combat.
Using them to pistol whip the group of soldiers that surround him, the sequence mirrors the puppy scene’s staging except with no shots fired from our rebellious protagonist.
Personally, the scene resembles the 10-man fight from “Ip Man” (2008), in which the character takes on multiple opponents at once with clinical finishing moves.
On top of that, adding slow motion to parts of the finishing sequence itself allows you to linger on every strike as it lands. We are left with the impression that Preston is still conscious of his striking technique but his purpose has flipped from persecutor of the rebellion to its defender.
The epic finale of the film takes place between Preston and Dupont, the antagonist played by Angus Macfadyen.
In this final showdown, two masters of the Gun Kata go to town with all the techniques we have seen up until this point.
Accompanied by Matrix-style music in the background, the double-wielding pistols return to carve out the Gun Kata philosophy: weapons are an extension of the body.
The choreography takes on a strong Wing Chun style, drawing influence from the Baat Jaam Do (Eight Chopping or Slashing Knives) form – a subsection of Wing Chun which uses butterfly knives as deadly weapons.
In terms of cinematography, this is perhaps the film’s best. An arc shot circles the two adversaries as they flow in and out of attacks, almost like a dance. It is quite the fitting final showdown in a series of spectacularly unique fight scenes.
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