Clans of Intrigue (1977)

Clans of Intrigue [楚留香] (1977)

Starring Ti Lung, Yueh Hua, Li Ching, Nora Miao, Betty Pei Ti, Ling Yun, Tin Ching, Nancy Yen Nan-See, Chan Sze-Kai, Lau Wai-Ling, Chong Lee, Ku Feng, Ku Wen-Chung, Cheng Miu, Norman Chu Siu-Keung, Ku Kuan-Chung, Chan Shen, Teresa Ha Ping, Yeung Chi-Hing

Directed by Chor Yuen

Expectations: Super high.


Clans of Intrigue was Chor Yuen’s first of five films released in 1977, and if it is anything to go by, I am in for some real treats. While Clans of Intrigue isn’t the greatest action film, it’s one of the most engrossing and well-plotted wuxias I’ve seen. It’s as much of a mystery film as it is a wuxia, and as a fan of both genres this was a dream come true. I’ve always heard that Chor Yuen was an influential director in the wuxia genre, but after seeing this run of Killer Clans, The Magic Blade, The Web of Death and Clans of Intrigue, I have a newfound appreciation for him. Within these four films he laid the basic groundwork for the wuxias of the ’80s, redefining the genre beyond the precedent set earlier by King Hu and Chang Cheh. Chor Yuen is the link between the two eras, and his work is nothing short of brilliant.

Clans of Intrigue begins with a string of three mysterious murders. Someone clad in red and wearing a mask assassinates the masters of three martial arts clans by using the ultra-poison Magic Water. Meanwhile, the Thief Master Chu Liu Hsiang (Ti Lung) is hosting a meeting aboard his boat. Nan Gong Lin (Tin Ching), the head of Beggar’s Gang, and the Ingenious Monk Wu Hua (Yueh Hua) are his guests, but mid-way through their meal, another arrives. Kung Nan Yen (Nora Miao) from Palace Magic Water has come to arrest Chu for stealing the Magic Water and killing the masters. She reasons that he must be the one that did it, because only the Thief Master could have gotten inside the palace and taken the Magic Water back out with him. He assures her that he is innocent, and she gives him one month to find out who really did it, otherwise they will kill him. And just like that, the game is afoot!

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The Silver Emulsion Podcast: Ep. 77 – Zu: Warriors from the Magic Mountain

This week on the Silver Emulsion Podcast, Stephen and I return to the fertile territory of the wuxia genre with Tsui Hark’s fantasy extravaganza Zu: Warriors from the Magic Mountain! Listen and enjoy! 🙂

Also: the show is now on iTunes! So if you feel like subscribing there, or rating/reviewing the show, feel free to share your thoughts!

Music Notes

Intro:

  • Jingo – Fever

Outro:

  • Kazunaka Yamane – Setting Off (A New Battle)
    • From the NES version of Double Dragon (VGMPF)
  • Rodrigo y Gabriela – Hanuman

If you’ve got feedback, throw it into the comments below or email it to me via the contact page! We’ll include it in a future show!

The podcast is embedded directly below this, or you can go directly to Podbean (or use their app) to listen. If you want to subscribe, paste http://silveremulsion.podbean.com/feed/ into whatever reader you’re using.

Executioners from Shaolin (1977)

Executioners from Shaolin [洪熙官] (1977)
AKA Hung Hsi-Kuan, The Executioners of Death, Shaolin Executioners

Starring Chen Kuan-Tai, Lily Li Li-Li, Lo Lieh, Wong Yu, Dave Wong Kit, Cheng Kang-Yeh, Shum Lo, Gordon Liu Chia-Hui, Lee Hoi-Sang, Tin Ching, Chiang Tao, John Cheung Ng-Long, Lee Chiu

Directed by Lau Kar-Leung

Expectations: Super high.


Shaolin Temple marked the end of Chang Cheh’s Shaolin Cycle, but hot on its heels a couple of months later came the first Shaolin film from Lau Kar-Leung: Executioners from Shaolin. Lau is fundamentally a different style of director than Chang, and this film is a perfect example of this. Chen Kuan-Tai reprises the role of Hung Hsi-Kuan, but Lau builds the character in ways that Chang never did. Executioners from Shaolin begins similarly to Chang’s Heroes Two (with Hung’s escape from the burning Shaolin temple), but it is not a tale of survival and hiding out from Qing government officials. Executioners from Shaolin has a bigger goal in mind, broadening its focus out to illustrate the evolution of Hung Gar and the importance of its lineage. Lau Kar-Leung was a member of this lineage himself, so his genuine appreciation and love for it really pops off the screen. Shaolin filmmaking at the Shaw studio began with Hung Gar under the influence of Lau, so it’s fitting that he would begin there as well.

The martial lineage of Hung Gar is the overall focus of Executioners from Shaolin, but it is framed around a basic revenge-driven story that any kung fu fan has seen a million times. It’s presented differently here, but regardless it still boils down to “You killed my master, now I kill you.” Shaolin Master Zhi Shan (Lee Hoi-Sang) is defeated by Pai Mei (Lo Lieh) during the film’s opening credits, setting the stage for a quest of revenge. Hung Hsi-Kuan & his remaining Shaolin brethren would like to strike while their emotional wounds are fresh and the wood of Shaolin still smokes, but after confronting some Qing resistance it becomes clear that regrouping and strengthening their position is their only viable option. The students find refuge in the Red Boat opera troupes who travel the country by sea, leading Hung to meet the beautiful and martially adept Fang Yung Chun (Lily Li), and this is where the heart of Executioners from Shaolin can be found.

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The Silver Emulsion Podcast: Ep. 71 – Ip Man

This week Stephen and I are back in action with the latest Chinese folk hero, Ip Man, in Wilson Yip’s 2008 Ip Man! Listen and enjoy. 🙂

Also: the show is now on iTunes! So if you feel like subscribing there, or rating/reviewing the show, feel free to share your thoughts!

Music Notes

Intro:

  • Johnny Hammond – Rock Steady

Outro:

  • The Stooges – Search and Destroy

If you’ve got feedback, throw it into the comments below or email it to me via the contact page! We’ll include it in a future show!

The podcast is embedded directly below this, or you can go directly to Podbean (or use their app) to listen. If you want to subscribe, paste http://silveremulsion.podbean.com/feed/ into whatever reader you’re using.

Shaolin Temple (1976)

Shaolin Temple [少林寺] (1976)
AKA Death Chamber

Starring Alexander Fu Sheng, Chi Kuan-Chun, Wai Wang, David Chiang, Ti Lung, Johnny Wang Lung-Wei, Yueh Hua, Wong Chung, Lau Wing, Bruce Tong Yim-Chaan, Phillip Kwok Chun-Fung, Li Yi-Min, Shih Szu, Ku Wen-Chung, Shan Mao, Chiang Sheng, Ku Feng, Lu Feng, Wong Ching, Tsai Hung, Chiang Nan, Shum Lo, Wang Han-Chen, Lee Sau-Kei, Liu Wai, Hao Li-Jen

Directed by Chang Cheh (with Wu Ma)

Expectations: Another Shaolin Cycle film. Yes, I’m still expecting greatness.


Shaolin Temple isn’t Chang Cheh’s last Shaolin film, but it is the last in his Shaolin Cycle that began with 1974’s Heroes Two. His later Shaolin films with the Venom Mob actors may relate in some ways, but I consider them separately from the Shaolin Cycle films. Anyway, Shaolin Temple is a great finale to Chang’s non-linear series with a habit of contradicting itself and re-telling different versions of the same story. Shaolin Temple showcases something that has been talked about in just about every film, but has yet to be shown in its full glory: the Shaolin Temple itself. In classic Chang Cheh fashion, it’s also not a typical martial arts film; it’s one that puts the Shaolin Temple and its teachings at the forefront of the film, above character development and even plot. If you’ve seen all the previous entries, this isn’t a big deal, but newcomers might be a little lost with the sheer amount of characters in the film.

Shaolin Temple is basically a prequel to Five Shaolin Masters and Heroes Two/Men from the Monastery/The Shaolin Avengers (and while we’re building shaky Shaw Shaolin timelines, Lau Kar-Leung’s The 36th Chamber of Shaolin would come directly before Shaolin Temple). It also re-tells/re-imagines certain aspects that would tie into those films, so it’s not the type of prequel that completely works. That doesn’t matter in this case, though, as these are folk tales just waiting to be re-imagined and re-told as the teller sees fit. In any case, the film opens with Hung Hsi-Kuan (here played by Wang Wai), Fang Shih-Yu/Fong Sai-Yuk (Alexender Fu Sheng), and Hu Huei-Chien (Chi Kuan-Chun) kneeling outside the Shaolin Temple in hopes of being accepted for training in the martial arts. The Grand Master (Ku Wen-Chung) decides that after five days of kneeling, the men are dedicated enough to withstand the hardships of Shaolin training. What ultimately sways him is his feeling that if he does not teach them, the very survival of the Shaolin martial arts might hang in the balance. They enter the temple, and it begins a new era of the temple training outsiders to aid their resistance against the oppressive Qing government.

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The Web of Death (1976)

The Web of Death [五毒天羅] (1976)

Starring Yueh Hua, Lo Lieh, Ching Li, Wang Hsieh, Angela Yu Chien, Wong Chung, Lily Li Li-Li, Cheng Miu, Ku Feng, Kong Yeung, Norman Chu Siu-Keung, Chan Shen, Chan Mei-Hua

Directed by Chor Yuen

Expectations: Excited to see another Chor Yuen movie.


Chor Yuen re-defined the wuxia film genre with Killer Clans and The Magic Blade, but The Web of Death is more of a step in a different direction. Elements introduced in the previous films (like the focus on survival and the true danger of the martial world) are still present and relevant in The Web of Death, but they are no longer the primary focus. In The Web of Death, Chor Yuen goes full-on fantasy, delivering a tale of magical powers and deadly clan rivalries that could only come out of ’70s Hong Kong. If the previous films were about avoiding subtle tricks like a poisoned drink, The Web of Death is about more overt threats such as a trapdoor that opens into an acid bath. This move towards fantasy is significant, though, as Shaw’s prior wuxia films always contained elements of fantasy but were never all-out extravaganzas. In this way, The Web of Death is like a bridge between the early days of trap-laden, studio-bound wuxias and the fantasy heights the genre attained in the ’80s and ’90s. As a huge fan of those later offerings, I can’t help but love The Web of Death just a little bit more for pushing the genre in that direction.

The Five Venoms Clan is in possession of the most fearsome weapon in the martial world: the Five Venoms Spider. It may look like nothing more than a smoking lantern adorned with a red spider handle on its top, but it’s actually a cage for the fearsome spider within. This spider is capable of incredible things, including deadly lasers and a poisonous mist. Nothing is known that can defeat the power of the spider, or even defend against it. If your opponent wields the spider it’s basically time to say your goodbyes, if you only had the time. The spider is so deadly that even the Five Venom Clan itself is scared of it. They lock it away in an unknown location, and there it stays until a few members of the clan want to take control of the martial world at an upcoming tournament with it. The mere idea that the spider may re-emerge in the martial world sends shock waves through the clans. Fei Ying Xiang (Yueh Hua) of Wudang — or Wu-Tang if you’d prefer — and his brother Fei Ying-Jie (Wong Chung) are dispatched by their master to learn of the spider’s whereabouts and stop its use. The brothers split up to search separately, and the twisting, dense adventure begins.

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Big Bad Sis (1976)

Big Bad Sis [沙膽英] (1976)

Starring Chen Ping, Wong Chung, Chen Kuan-Tai, Chong Lee, Siu Yam-Yam, Ku Kuan-Chung, Wang Hsieh, Queenie Kong Hoh-Yan, Kong Oh-Oi, Daan Fung, Yeung Chi-Hing, Chiang Nan, Teresa Ha Ping, Wong Ching-Ho, Shum Lo, Chan Lap-Ban, Kong San, Wong Jing-Jing, Mak Wa-Mei

Directed by Sun Chung

Expectations: Excited to see another Sun Chung movie.


The Shaw Brothers catalog boasts many female-led action films, but rarely do they feel as actively feminist as Sun Chung’s Big Bad Sis. Themes of female empowerment and sisterhood are front and center throughout, elevating the film beyond its exploitation and action roots. Don’t worry, though, this is quite far from an Oscar-bait message film; Big Bad Sis gets its point across while being relentlessly entertaining. Unfortunately, it’s not as potent as it could’ve been — an incredibly overlong, gratuitous sex scene mars the film’s mid-section — but fans of Chen Ping and Shaw Brothers crime films of the era should find a lot to enjoy here.

Big Bad Sis is centered around Ah Ying (Chen Ping), the Big Bad Sis of the title. She works alongside many other women in a textile factory, but she is much more than a co-worker. The film begins when a new hire, Ah Fong (Chong Lee), is assaulted in the bathroom by a group of thuggish co-workers. Sai Chu (Siu Yam-Yam) senses that something is wrong and checks on Ah Fong. She tries her best to overcome the group of abusive women, but she is no match for them. By this time, the situation has attracted more attention, and Ah Ying steps in to break it up. Her fists and strong spirit are formidable, and in teaching the bullies a lesson, she gains the friendship of Ah Fong and Sai Chu in the process. Ah Ying is a woman who has the power to stand up to oppression in all its forms, and in helping her co-workers she finds a new purpose. She isn’t a trained martial artist, but she begins to teach Ah Fong and Sai Chu self-defense tactics.

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