The New Shaolin Boxers (1976)

The New Shaolin Boxers [蔡李佛小子] (1976)
AKA The Choy Lay Fat Kid, Demon Fists of Kung Fu, Grand Master of Kung Fu, Grand Master of Death, Silly Kid

Starring Alexander Fu Sheng, Jenny Tseng, Johnny Wang Lung-Wei, Lo Dik, Leung Kar-Yan, Jamie Luk Kim-Ming, Chan Wai-Lau, Shan Mao, Phillip Kwok Chun-Fung, Wong Yiu, Wu Hsiao-Hui, Stephan Yip Tin-Hang, Wong Fei, Lee Ying, Wong Cheong-Chi

Directed by Chang Cheh (with Wu Ma)

Expectations: Excited for another Shaolin Cycle movie.


The New Shaolin Boxers is something of an anomaly in Chang Cheh’s informal Shaolin Cycle. It most resembles Disciples of Shaolin, with both films featuring a resonant dramatic core about practitioners of Shaolin martial arts far down the lineage from the folk heroes who survived the burning of the Shaolin temple. The New Shaolin Boxers isn’t nearly as effective or finely crafted as Disciples of Shaolin, but I must admit that it is a film that is growing in stature the more I think about it. The key to this blossoming love is how Chang Cheh and Ni Kuang wrote the film to reflect the dual nature of its featured martial art: Choy Li Fut.

Choy Li Fut is an interesting branch of kung fu developed by Chan Heung in the 1800s. He combined two of the five main Southern styles, Choy Gar and Li Gar, with Fut Gar (also known as Buddhist Fist, itself a combination of Choy Gar and Hung Gar), resulting in a well-rounded system that enriches all aspects of the artist’s life. Philosophy and similar non-physical teachings are not unique to Choy Li Fut, but it is my understanding that it is more of a focus here than elsewhere. The film opens with Fu Sheng demonstrating Choy Li Fut, while the narrator tells us of its history and the art’s lineage to contextualizes the movie’s timeline. After this intro, though, the film seems to dive into a standard martial plot without a lot of thought or care paid to representing Choy Li Fut. In thinking this, I was quite wrong; the teachings of Choy Li Fut influence every aspect of the film and its plot.

Continue reading The New Shaolin Boxers (1976) →

The Silver Emulsion Podcast: Ep. 64 – Bewitched

It’s time for a bit o’ black magic! This week Stephen and I talk about one of my favorite Hong Kong films: Kuei Chih-Hung’s 1981 film Bewitched! 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:

  • Kabasa – Unga Pfula A Chi Pfalo
    • Next Stop… Soweto Vol. 4: Zulu Rock, Afro-Disco & Mbaqanga 1975-1985 (iTunes, Amazon)

Outro:

  • Dick Hyman Group Feat. Howard Alden – Old-Fashioned Love
    • Sweet And Lowdown Soundtrack (Amazon)

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.

Jumping Ash (1976)

Jumping Ash [跳灰] (1976)

Starring Josephine Siao Fong-Fong, Ga Lun, Michael Chan Wai-Man, Chan Sing, Nick Lam Wai-Kei, Lee Yin-Ping, Wu Fung, Lo Hoi-Pang, Lee Chi-Chung, Cheng Chi-Tun, Terry Lau Wai-Yue, Cheung Sek-Aau

Directed by Josephine Siao Fong-Fong & Po-Chih Leong

Expectations: Very interested. Don’t know what to expect, though.


Jumping Ash was a huge hit in its day, reaching #3 at the 1976 Hong Kong box office, but unfortunately I watched it faded, full-screen and dubbed. Hopefully it can be restored in the future and seen by fans in its original format, because in addition its success, Jumping Ash was also highly influential. It exhibited all the qualities of the Hong Kong New Wave, a few years before it really began in earnest. Some cite Jumping Ash as the first film of the New Wave, while others list it as a stylistic forerunner, but no matter what you call it, it’s a film that feels ahead of its time and far closer to what Hong Kong cinema would become than what it was in 1976. It’s hard to know from my position in 2018 America, but it also seems like it has its finger on the pulse of Hong Kong at the time, set in specific locations during May 1976 and then released just a few months later in August 1976.

Defining the style of the Hong Kong New Wave is a tricky thing to do. Like many film movements, it was something that happened organically and was only named and grouped together later on. Basically, the new crop of filmmakers in the late ’70s/early ’80s redefined what Hong Kong movies were, eventually taking over the industry from the fading studio-based model of Shaw Brothers. Location shooting and experimentation became the norm as this new generation of filmmakers put their artistic stamp on their films. Much of the previous generation thought of their work as nothing more than a job, so the emergence of singular talents like Tsui Hark, Ann Hui or Sammo Hung left a limitless impact on the industry. The films of this era firmly re-established Cantonese filmmaking as the dominant force of Hong Kong cinema, resulting in films that better reflected Hong Kong culture and society. It is also in this era where the genre-blending and multi-tone films took hold, bringing Hong Kong into what I consider its best and most fruitful period. This, too, is present in Jumping Ash, which deftly mixes drama, action and comedy on a moment’s whim.

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The Silver Emulsion Podcast: Ep. 63 – The Heroic Trio

This week Stephen and I are diving into one of the film’s I loved dearly during my teenage years: Johnnie To’s 1993 comic book-wuxia: The Heroic Trio! 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:

  • Ananda Shankar – Nostalgia
    • Shubh: The Auspicious (Amazon)

Outro:

  • Anita Mui – 莫问一生 Don’t Ask About Life (The Heroic Trio Theme)
    • 戲劇人生 [Drama of Life] (Discogs)

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.

Killers on Wheels (1976)

Killers on Wheels [無法無天飛車黨] (1976)
AKA Karate Killers on Wheels, Madboys in Hong Kong

Starring Ling Yun, Terry Lau Wai-Yue, Danny Lee, Kong San, Lin Wen-Wei, Lee Chung-Ling, Mi Lan, Huang Jin-Tian, Yeh Kuang-Hui, Mai Yao-Li, Ou Wei-Ming, Huang Chieh-Shui, Li Shu-Hua, Leung Yeun-Hung, Wei Ming-Yu, Wong Jing-Jing, Ching Si, Wong Ching-Ho

Directed by Kuei Chih-Hung

Expectations: Excited, I love Kuei Chih-Hung movies.


Killers on Wheels begins rather innocuously. A couple of rich, spoiled kids, Johnny (Lee Chung-Ling) and Michael (Lin Wen-Wei), leave home on their motorcycles for a weekend camping trip with their friends on an outlying island of Hong Kong. Their father expresses his displeasure in his sons’ relentless pursuit of fun instead of responsibility, but his wife retorts that it’s fine because their sons’ friends “all come from good families.” Moments later the opening credits roll, and we get a taste of their true nature. They all ride motorcycles as a youthful biker gang, having fun however it makes sense in the moment. They are juvenile delinquents with endless energy and desires, and together on wheels they are a monumental force.

At the ferry dock, we meet Guo Jian-Zhong (Ling Yun) and his wife Chen Mei-Juan (Terry Lau Wai-Yue). They’re traveling to the outlying island with Jian-Zhong’s little sister, Guo Ji-Lia (Kong San), for a weekend getaway to a beach house owned by her boyfriend, Si Wei (Danny Lee). They are about as opposite as characters could get from the reckless youths on motorcycles. Guo Jian-Zhong is a responsible husband and a nice guy. His wife seemed somewhat sheltered from the realities of the outside world by Guo, showing us a hint that his character likes to be a protector. His little sister Ji-Lia is fun-loving and youthful, and equally oblivious to the dangers of the world. Her short leather miniskirt quickly attracts the attention of the biker kids, and it’s all downhill from there.

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The Silver Emulsion Podcast: Ep. 62 – Galaxy Express 999

This week Stephen and I are keeping the anime train a-rollin’ with Rintaro’s 1979 smash-hit anime feature: Galaxy Express 999! 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:

  • Jimi Hendrix – Hear My Train A-Comin’

Outro:

  • Godiego – 銀河鉄道999 = The Galaxy Express 999

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.

The Snake Prince (1976)

The Snake Prince [蛇王子] (1976)

Starring Ti Lung, Lin Chen-Chi, Helen Ko, Fan Lei, Wong Yu, Ng Hong-Sang, Wong Ching-Ho, Cheng Miu, Leung Seung-Wan, Lam Wai-Tiu, Norman Chu Siu-Keung, Tsang Choh-Lam

Directed by Lo Chen

Expectations: Excited, but I’m not sure what to expect.


The Snake Prince is easily one of the most unusual Shaw Brothers films I’ve seen. It combines a full-on musical with fantasy and folklore to create an unforgettable film you’ll either love or hate. I love a good musical, so to have one with funky ’70s music, the usual Shaw Brothers feel and a bunch of snake-driven fantasy, I thoroughly enjoyed myself. There’s also a bit of martial art action here and there, but it’s not treated like the fights of more traditional films. They aren’t edited for tension at all, instead there are a lot of long, unbroken takes that allow the physicality of the actors to really be appreciated. But don’t expect anything too exciting in this regard, it’s more like a few sprinkles on top of a donut instead of something more substantial. If you aren’t diggin’ the rest of the movie, the fights aren’t going to be enough to make it worth it.

A small mountain village is in the middle of a severe drought. The villagers pray (via a funky song, of course) for the rains to return so their crops can thrive again. After the opening credits introduce us to the Snake Prince, we return to the villagers, again in song. During this celebration, the Snake Prince (Ti Lung) and his two snake friends (Wong Yu & Ng Hong-Sang) enter the town disguised as villagers. They dance and sing with the humans, and a trio of sisters catches their snake eyes. The Snake Prince is especially smitten with Hei Qin (Lin Chen-Chi), but a trio of men from the village (who I assumed were the boyfriends of the sisters, but they never said they were) run the snake guys out of town. This is where one of the bigger action scenes happens, but it’s more like stage fighting than anything resembling what was occurring in the other films of 1976.

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