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Goodbye, Dragon Inn


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Product Details

  • Actors: Kang-sheng Lee, Shiang-chyi Chen, Kiyonobu Mitamura, Tien Miao, Chun Shih
  • Directors: Ming-liang Tsai
  • Writers: Ming-liang Tsai, Sung Hsi
  • Producers: Ai-Lun Chu, Hung-Chih Liang, Vincent Wang
  • Format: Color, Dolby, Subtitled, Widescreen, NTSC
  • Language: Cantonese
  • Subtitles: English
  • Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  • Aspect Ratio: 1.85:1
  • Number of discs: 1
  • Rated: Unrated
  • Studio: Fox Lorber
  • DVD Release Date: February 15, 2005
  • Run Time: 82 minutes
  • Average Customer Review: 2.9 out of 5 stars  See all reviews (16 customer reviews)
  • Shipping: Currently, item can be shipped only within the U.S. and to APO/FPO addresses. For APO/FPO shipments, please check with the manufacturer regarding warranty and support issues.
  • ASIN: B0006TPDUM
  • Amazon Best Sellers Rank: #214,125 in Movies & TV (See Top 100 in Movies & TV)
  • Learn more about "Goodbye, Dragon Inn" on IMDb

Special Features

  • Bonus short: The Skywalk Is Gone
  • Trailer gallery
  • Photo gallery
  • Filmography

Editorial Reviews

A Japanese tourist takes refuge inside a run-down movie theater and discovers that some of its patrons may actually be ghosts from the film playing on screen. From Tsai Ming-Liang, director of The River and What Time Is It There?.

Customer Reviews

2.9 out of 5 stars

Most Helpful Customer Reviews

Format: DVD
Tsai Ming-liang's follow-up to his breakthrough film, "What Time is It There?" is an absorbing visual poem about the pros and cons of going to the movies. While it is less expansive than his previous outing, it clearly belongs alongside the director's other films. Like the rest, it features lonely characters in an urban setting, as well as long, static shots.

"Good Bye, Dragon Inn" takes place in an old-fashioned movie house, which has one screen, shows revivals of classics, and suffers from a lack of customers. The Fu-Ho Grand Theater, as it is called, doesn't quite live up to its namesake anymore. Much of the interior seems dilapidated, and the overall mood approaches sadness.

The movie alternates between a ticket woman with a bad leg (Shiang-chyi Chen), who seems to be the only employee of this vast theatre, and a young man (Kiyonobu Mitamura) who has come to enjoy King Hu's martial arts epic "Dragon Inn." She happens to be away from the booth when he wanders in, so he sneaks into the theater sans ticket. The two characters remain on separate paths: she performs her nightly routine, while he attempts to enjoy "Dragon Inn." Through the course of the film, they never connect with each other. Nor anybody else, for that matter.

Practically half the movie is spent showing the ticket woman hobbling to her locker, a Herculian task given the Fu-Ho's size. Often, the director will let the camera linger until the character retreats from the frame completely. This technique slows down the rhythm of the editing, which affects the speed at which the audience perceives events. But it also emphasizes the solitude of the character, since she remains the sole subject of Ming-liang's interminable shots.
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12 of 13 people found the following review helpful By neon rebel on December 12, 2004
Format: DVD
In Tsai Ming-liang's Goodbye, Dragon Inn, he says goodbye to Taiwan's old way of life with King Hu's seminal Dragon Inn unspooling in the background. It's really hard to review it as there isn't much of a plot to speak of, and the first line of dialogue is not even uttered until half way into this 82 minutes film. For the most of the film, characters just navigate the labyrinth-like theater in search of companionship that never materializes, which probably infers to the presistent alienation in our modern world. Tsai's usual theme of water returns here too, and his reputation as the world's greatest restroom director (by one critic) is also reinforced. Tsai's original intent was to make a short film, but later decided to expand it into a near full length feature. That decision might explain the film's lack of concrete material, as scene after scene the camera just lingers for minutes at a stretch without anything happening on screen. Then again, that self-indulgent style is exactly Tsai's hallmark ever since his first film. I am not exactly complaining though, even if I prefer a slightly faster pace and more meat to the story. Still, your patience will be rewarded by an outstanding final that's pure melancholic poetry, proving once again he is the master at constructing the romance of loneliness and alienation. BTW, the film has cameos of two original actors from Dragon Inn.
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9 of 10 people found the following review helpful By D. J. Hatfield on April 14, 2005
Format: DVD
of course, this film has the dubious distinction of being tsai's most absurd, non-narrative, and slow film to date. that need not condemn it as film, but does as entertainment. it's this caveat that those who might consider watching any of tsai's work, but particularly this film, should keep in mind. that said, like everything else by tsai, the film appears random but is formally well-wrought. moreover, it manages to say something very important in a cinematic medium about the role of cinema and also time, in the context of a national imagination. is it a mistake that 'dragon inn,' the martial arts film, has movement but 'bu san' is pervaded by an eternal present, a frozen time? the contrast of the two is precisely part of the point: an elegy for cinema, 'bu san' is also a memory of another time, one in which there seemed to be a future. rather than be annoyed that tsai fails to entertain us, we should relish our distraction, annoyance, and boredom as having their own pleasures. or share an ironic connection with those who don't get tsai's point but are willing to speculate on it
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4 of 4 people found the following review helpful By Timmy K. on August 17, 2008
Format: DVD
I will admit that this film is not for everyone. This is a VERY slow film, there is very little talking, and many shots that linger on what seem at first to be insignificant things. Yes there is no overall plot beyond "the last operating night of a movie theater", but there are many other stories being told within that basic framework. If you actually pay attention to what the film is showing you, you start to see the stories of the people and the place unfold. You start to understand what their lives are, and what the life of the theater is and has been over the years. The place is something more than what it was meant to be. The people are doing more than what they seem to be, or would be expected to be doing in such a place. Today we are so used to listening to a film, and we forget about watching it. Seeing what is happening in the film rather than following the story through what is said in the film. We are so used to having everything laid out for us on a golden platter that we forget about paying attention. We forget how fulfilling it can be to suddenly put two and two together and realize what we are actually seeing, and what it means to everything else we have seen. Silent films, in a much broader and more obvious way forced you to understand the story based on what you saw on screen visually. If you've seen enough silent films you know that the dialog cards were actually often used very sparingly. Entire portions of the dialog would be delivered on screen with only the actors performances revealing what was being said. This film is very much like that only much more subtle, and without even the silent dialog to inform the viewer. You see these events and have to pay close attention and remember things for it to become clear why you are being shown it.Read more ›
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