Ang Lee's film Crouching Tiger, Hidden Dragon is one of the controversial films of the twentieth century. After its release in 2000, the film immediately became a success in the United States, but in China, the setting and location of the film, the film would become a flop (“Crouching Tiger, Hidden Dragon” par. 3). In America, the film was considered a bright martial arts fantasy epic, ranked as the best film of the year. The film received excellent ratings in the United States, surpassing Roberto Benigni's highest-grossing foreign language film Life is Beautiful. Despite the growing popularity of the film Crouching Tiger, Hidden Dragon outside China, the entire presentation was not liked by Chinese audiences (“Crouching Tiger, Hidden Dragon” par. 4). The flop occurred because the film presents some of its content in a way that contravenes Chinese cultural beliefs. This article discusses the reasons why this film elicited mixed reactions from US and Chinese audiences, given its focus on cultural translations. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay The film embraces China's profound popular culture. The film presents itself as the product of several factors. For example, it shows that the director and screenwriter aimed to use the film to undertake a thoughtful and critical evaluation of classical Chinese culture (Lee 7). Based on the setting of Crouching Tiger, the Hidden Dragon film in China that uses Chinese characters with a worldview in mind, the film is transfigured to have the characters criticize the culture and tradition of the Asia-Pacific nation. Ang Lee carefully produced the film by combining various forms of Taoist philosophy and Chinese mythology, which together give a broader perspective to its main agenda. The type of design adopted differed greatly from many Asian films which in most cases adopt the esoteric path of denial and detachment (Holland par. 7). Ang Lee embraced a softly romantic, more life-affirming humanism. Traditionally, most Asian Pacific films are characterized by Eastern philosophy which in several respects varies from Western films, which are characterized by its ideals of humanistic sensibility. The difference is evident in three important exchanges recorded between Yu Shu Lien and Li Mu Bai, the two main characters of the film (Holland par. 3). A comprehensive analysis of these exchanges highlights the meaning and reality of human attachment in life that contradicts the view of Taoist mysticism that the only path to enlightenment is through detachment and illusion. At the beginning of the film, viewers are introduced to Shun Lien and Mu Bai, who have had feelings for each other for a long time. However, contrary to public expectations, the two denied those feelings to pursue the demands of Giang Hu's lifestyle. In the first scene, Mu informs Lien that he left by engaging in “deep meditation” (“Crouching Tiger, Hidden Dragon (2000)” par. 9). Lien was shocked at how Mu could abandon such practice prematurely and yet this was expected of him as a Wudan warrior. As a warrior, Mu was expected to train in meditation, which was a crucial component of his regimen. Before breaking away from meditation, Mu recounted an incident that prompted him to abandon the practice. In his last meditation, Mu told Lien that he had arrived at a place of profound silence (Holland par. 11). While in this state, he was surrounded by light where space and time instantly disappeared. Lien concludedthat he had reached the place of enlightenment, but Mu confirmed to her that he felt no sense of enlightenment, instead he was surrounded by endless pain that was somehow pulling him back. Mu later realizes the "thing" that was pulling him back. returning it was his affection for Lien. Clinging to the feeling of affection, Mu knew that this was contrary to his Wudah way of detachment (Law 7). When he was with Lien, Mu discovered that there was something missing in his meditations. Halfway through the film, they took their affection to the next level; Mu became brave enough to take Lien's hand and press it to his cheek (Faith par. 3). While doing all this, Mu was aware of the implications of his philosophy. He told Lien that everything they were touching was temporary, according to his master there was nothing permanent in this world and the best thing anyone could do at any time was to let go and truly own what was real. Wudah philosophy represented Taoist orthodoxy, which Lien opposes. According to Lien, holding on to such beliefs is inaccurate, because everything should be taken with common sense realism. For example, he challenged Mu by telling him that his hand is real, contrary to his perception that everything is an illusion ("Crouching Tiger, Hidden Dragon (2000)" par. 3). Despite adhering to the Wudah philosophy, Mu believed that repressing feelings made them stronger. The more they hold hands, the more Mu longs to be with her and in the process develops a deep sense of peace. Towards the end of the film, Mu had become consumed by the circumstances surrounding his decisions (Faith par. 7). As such, he was injured and Lien encouraged him to engage in meditation to help him recover. Lien advised him to free himself from this world and let his soul for once ascend to eternity; encouraged him not to waste it anymore in this deeply wounded and suffering world. However, in his response, Mu refused to accept his offer (Holland para. 9). Instead, he preferred to be a ghost wandering by her side because he had always loved her. Mu recounted how his life had been a waste but consoled himself by saying that he would not be a solitary spirit. Mu's Wudan philosophy was a complete lie and could not stand. It is evident that his entire training was a total waste (Faith par. 9). He voluntarily stopped his intention to pursue his dreams for love. As the film progresses into the last scene, viewers are warned to stop watching. It is unclear why Ang Lee decided to act in this way as he did not provide any reasons. Lee decided to let viewers find the meaning themselves. The suspense that the director creates in the film makes it difficult for audiences of different cultures to understand. Jen, one of the characters in the last scene, was on top of Mount Wudah when LO, Chen Chang, pushed her to jump from the mountain. He pointed out to her that anyone who dared to jump off the mountain never died. God always grants the wishes of those who are brave enough to jump by making them float in the air (“Crouching Tiger, Hidden Dragon” par. 7). Jen convinced him that if he jumped his wish would be granted. Without another thought, Jen jumped and floated into the mist before disappearing from sight. Before jumping, Lo had promised Jen that they would be together in the desert. What happened next contradicts Lo's promise because after Jen jumped she flew away and never returned, so the promise of being together in the desert never materialized. The whole thing became a Zen-type paradox (Faith par. 2). Apparently, this represents the decision Mu should have made. Ultimately, the film can be seen as a story.