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The Sword battle has been the bitter genre since the earliest days of the movie.
And when the duel is good, it sticks to you.
What makes the sword fight a sword battle? For the purposes of this list, we stay together with one battle, where at least one of the two fighters fights with a real sword.
So not Jackie Chan Unfortunately, in this list, the ax of the ax, but seriously you have to go to see it right away because Wow, Jackie Chan is crazy who doesn’t care anything about her own safety and you should love her about it.
What the sword struggle has established, we now have to find out what is doing one good.
And it is not enough that the duel is just technically skilled. It is meant to mean something, surprise us, move us, or make incredibly happening. It also helps if it’s beautiful.
Hide your sixth finger if you have one.
Blade
In the last show Blade.
By the time Blade meets Frost’s eternal night in the temple, the film has spent almost two hours by setting up exactly what kind of fighter he is: merciless, effective and smooth as hell. The last battle deserves all this.
Jeff Ward’s choreographer himself, the Snipes feed-to-shave artist, with the background of the Shotoka Karate and Capoeira, mixes sword game, hand-handed and cinematic glow.
The frost charged in the blood magic is faster and stronger than any opponent blade encounter. He doesn’t block – he sucks. He does not avoid – he is renewed.
Fans remember the battle for their subtlety, but its cool factor. It is a duel that has been baptized in blood, techno and attitude of everything that made the blade style defining. It leveled the way Matrix– UnderworldAnd even modern Marvel Boom.
Rob Roy
Rob RoyThe last duel – Liam Neeson’s Rob Roy MacGregor and Tim Roth’s Archibald Cunningham – is the soul of the film.
This battle is intimate, cruel and personal. A timeline in the illuminated Stark Hall, which has no music and crowds, deprives the sword’s battle to its most paid form: Survival.
Cunningham is a trained aristocrat – fast, agile, sadistic. Rob Roy is slower, wider and completely self -taught. And that imbalance is exactly the point.
Roy is completely extra. He stands in his country, but he is slowly killed as we look.
The choreography was designed by William Hobbs, a veteran battle leader known for realism over Flash. Neeson and Roth extensively trained the venue and demanded to do everything themselves, which increases the grounded, high -stake tension.
Rob Roy is not subtly winning, but by mere willpower and durability, culminating in sudden, explosive violence, which turns the tables in the last second.
Kill the invoice
The last battle of Uma Thurman’s bride and Lucy Liun O-Ren is not just the culmination Method Bill Vol. 1– It’s a moment of pure, cinematic poetry.
Director Quentin Tarantino fired it in massive audio in Beijing. Production designer Yohei Tanneda and filmmaker Robert Richardson changed its visual dreamy.
Choreographed by Yuen Woo-Ping, a legendary battle champion behind Matrix And countless Hong Kong classics, duel mixing Samurai with a Chinese sword game.
This is not a blatant battle – it is measured and respectful, more Kurosawa than Kung Fu movie. There is a little dialogue there. Only snow and steel collision.
Duel had directly inspired by a very similar showdown in a classic 1973 Japanese revenge movie Lady Snowblood. He even used the music of the film at the closing points of his film.
Hook
Everything that happens in the life of a denial of St. Petersburg leads to the hook. And in the last moments of the film, named for his antagonist, Banning becomes a boy again, long enough to face him in epic duels.
The battle takes place at Hook’s Ship, a rich series designed to resemble every child’s fantasy of pirate.
There are ropes that swing, the stairs jump down and enough space to the right of the old school sword battle. And that’s exactly what Spielberg is supplied by the funny Peter Pan tour.
Robin Williams Practicing a wide range of role in fencing, coached by trick coordinator Nick Gillard (who later worked for the Star Wars pre -section). Dustin Hoffman, who leaned a lot of nature, made Hook’s technique Foppish, but dangerous – everyone flourishes both theater and deadly.
The duel is as much a performance as the sword game. Hook Gos. Pan nap. It is not a struggle for the fate of the world, but about identity, koso and closing.
The choreography mixes the real fence techniques with a fantasy-defying fantasy head can, after all, fly into the smell of a dreamy edge.
Hook’s last stand, complete in the last term of office monologgives the villain of their maturity. And the refusal to kill him directly feels something like a storybook – because it is.
Drunken Master 2
We archive this entry below Drunken Master 2Because it’s the best martial arts movie ever, but almost at any time Jackie Chan gets her hand with a sword probably deserves to be on this list.
There is only one sword battle in Drunken Master 2But since Jackie Chan can’t be completely original all the time, it’s one of the most unique sword battles ever in custody in the movie.
Most of it happens when the fighters were half crumpled under the train, trapped in its lower carriage.
The enemy plays Jack’s real-life guard Ken Lo and Elite fighting artist whose accuracy changes the space to be shaved in the minefield.
This battle was filmed on the spot with the actual train. There were no digital effects or green screens because this is Jackie Chan.
The self-designed choreography designed by Lau Kar-Leun and Chan is a master class in improvisation defense. Jackie uses her surroundings with a genius: steel rods, train axes and tight farms come from both weapons and shields. It is less shape and more coping.
Is not wired. No camera cheating. Only a ruthless movement, real danger and complete timing.
And somehow Chan makes it fun despite the stakes. It’s a magic Drunken Master 2: You can’t believe what you see, and you still grin through the whole trip.
Caribbean pirates
Jack Sparrow’s last duel with Barbosa Caribbean pirates There is a chaotic, cursed and smart heart for the whole movie.
Jack shoots in Barbo in the heart. Nothing. Barbo stabs Jack through his chest – and moments later Jack enters the moonlight to reveal that he is also cursed.
It’s also terribly beautiful. It is placed in a moonlight cave that contains glittering Attteek gold and is accompanied by a trick that has been pulled by incredible effects Wizardry: Moonbeams transforms fighters into living skeletons.
Between the syndrome, the swords exceed two dances, their true shapes are revealed and hidden, exposed and hidden.
Both Johnny Depp And Geoffrey Rush carried out most of the sword works under the guidance of veteran choreographer George Marshall Rue.
The victory does not come through brutal power, but through the hand and the perfect timing. When Barbossa -Glats, Elizabeth returns the last coin and drops it with a blood offer – breaking the curse just in time to eventually lower the Jack gun shot.
Jed’s return
It Jed’s return duel between Luke Skywalker And Darth Vader was not the most acrobatic or technically complex than some later in the series, but it can be most effective.
The vote in Elstree Studio in 1982 described a duel, choreographed by Stunt Coordinator Peter Diamond, British Stage Fighting veteran. Mark Hamill And David Prowse was both set up in the staging, but Stuntman Bob Anderson often dealt with real Saber attacks on the Vader suit.
World -class fencing and sword manager Anderson gave Vader’s attacks the weight and accuracy that helped to convey the character even below.
It’s not just a battle – it’s an identity test. Vader is not trying to win. He is arrested, perhaps because he does not want to kill his son or because he is ready to turn on the Vader.
No turns. No bloom. Only a father, a son, and a weapon that means more than just a blade of light.
Princess bride
Swashbuckling -style sword battles that were created from the sword game were the norm in Hollywood from its earliest days. The style that made Errol Flynn famous and sent the 1930s, 40, 50s and 60s, rushing into theaters a new Zorro movie reached both the top and its end Princess bride When Inigo Montoya fought the man in black.
The Stunt Display was not used, and Actors Carey Elwes and Mandy Patinkin trained months with legendary Hollywood swords.
Like those big Errol Flynn soups from the old, the sequence is designed with fun with its northern star. This does not mean that reality was not a factor. The duel was carefully choreographed, and the fences mentioned in the dialogue, such as the Bonetti defense, are real fence styles.
Highland
Highlander is a franchise full of fantastic sword battles, both in the movies and in underestimated Highland Television program.
But the climatic duel at the end of the first Highland A movie between Connor and Kurgan, set the sound.
The battle depicted in Queens, the Deedpit Silvercup Studios building in New York, is an atmospheric championship.
Christopher Lambert played Connor McLeod and otherwise he is legally blind. In real life, he heavily uses lens glasses, a device he could not use during this battle.
Clancy Brown, who was rising Kurgan, was urged not to go into full effect during the training – he ignored that Lambert was almost injured more than once.
Reflective floor, blue lightning, crumbling series is an opera without being too polished.
The moment when Macleod finally directs Kurgan and claims that the “prize” is iconic when Queen’s soaring rock anthem and the 80’s visual effects swirl.
There is certainly no better way to cut a duel than the Queen on its purpose on a deliberately written song.
You are probably wondering why Crouching tiger hidden dragon There’s no on this list, and I would say to you, but… Oh no, I’ve flown occasionally before I can say anything.
