The Dragon Missile (1976)

The Dragon Missile [飛龍斬] (1976)

Starring Lo Lieh, Lau Wing, Nancy Yen Nan-See, Ku Feng, Terry Lau Wai-Yue, Fan Mei-Sheng, Kong Yeung, Norman Chu Siu-Keung, Ko Hung, Wang Han-Chen, Ou-Yang Sha-Fei, Yeung Chi-Hing, Hao Li-Jen, Lai Man

Directed by Ho Meng-Hua

Expectations: Kinda high.


There are some films made for the sake of the art, while others are purely made for monetary reasons. The Dragon Missile is one of the latter, rushed into production to compete for the decapitation fan base with Jimmy Wang Yu’s One Armed Boxer vs. the Flying Guillotine (AKA Master of the Flying Guillotine). Both films opened on April 24, 1976, but only one of them is a well-loved genre classic that grossed more than all but a handful of Shaw’s 1976 films (and it ain’t The Dragon Missile 😀 ). The move to steal business from their former star may not have worked, but the resulting film is still pretty enjoyable for what it is. Even the most slapdash Shaw production is still a Shaw production, after all, and The Dragon Missile has a few solid things in its corner that make it a worthwhile film.

Lo Lieh plays Sima Jun, the Imperial Troop Leader for the oppressive Lord Qin Quan (Ku Feng). He wields one of the more unique weapons in kung fu cinema: a pair of giant “dragon missiles,” which are basically bladed boomerangs adorned with dragon heads that can cut through just about anything in their path (in a haze of sparks and lens flare). Like the flying guillotine, they have a habit of decapitating their victims, but the dragon missiles are almost more frightening because of their mobility. The guillotine must be thrown precisely and then retrieved for a second go-round, while the missiles are in constant motion. Sima Jun can also catch and throw them with remarkable speed and accuracy. Lord help us if a dude with a flying guillotine ever teamed up with a guy using dragon missiles!

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7-Man Army (1976)

7-Man Army [八道樓子] (1976)
AKA Seven Man Army

Starring David Chiang, Ti Lung, Alexander Fu Sheng, Chen Kuan-Tai, Li Yi-Min, Chi Kuan-Chun, Pai Ying, Ting Wa-Chung, Leung Kar-Yan, Johnny Wang Lung-Wei, Gordon Liu Chia-Hui, Miao Tian, Fung Ngai, Chen Ming-Li, Wang Ching-Ping

Directed by Chang Cheh (with co-directors Hsiung Ting-Wu & Wu Ma)

Expectations: Moderate.


As I mentioned in my review of Boxer Rebellion, Chang Cheh had become tired of making so many Shaolin movies in a row that he sought something fresh to sink his teeth into. He decided on the war film, a genre you don’t see a lot in Hong Kong film. Boxer Rebellion was shot second but released first, and it’s an atypical war picture that focuses on the boxers who believed themselves invulnerable to the foreigners’ guns. 7-Man Army is more a traditional war film that is an opposite in ways to Boxer Rebellion. 7-Man Army is about a small group of men who know exactly how fragile their lives are, but in the defense of their country they have no choice but to continue fighting.

7-Man Army tells a true story set a couple of years after the Mukden Incident, in which the Japanese staged a bombing to facilitate an invasion of China. The events depicted in the film were during the 1933 Defense of the Great Wall, specifically around the Gubeikou area. After a battle, the Chinese took back this section of the Great Wall, but seven men were all that remained of the Chinese forces. Cut off from all communication to their reinforcements, the men dug in and withstood multiple assaults on their position. These brave men were commemorated with a monument on the site of their burial, which can be visited via the Gubeikou Great Wall Kangzhan Memorial Hall (see #3 on the on-site map). There is also a monument on Kinmen Island, off the coast of Taiwan, called the Badu Tower. It’s also worth noting that the film’s Chinese title (and Wikipedia entry) cites the location as being the Badaling region, roughly 65 miles southwest of Gubeikou. In any case, Chang Cheh is once again fictionalizing a part of Chinese history for the masses, and 7-Man Army is quite successful in this task (despite what Chang says about the film being an artistic failure in his memoir).

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Killer Clans (1976)

Killer Clans [流星蝴蝶劍] (1976)

Starring Chung Wah, Yueh Hua, Ku Feng, Ching Li, Wong Chung, Lo Lieh, Danny Lee, Yeung Chi-Hing, Cheng Miu, Ngaai Fei, Wang Hsieh, Lam Wai-Tiu, Chen Ping, Ling Yun, Fan Mei-Sheng, Teresa Ha Ping, Kong Yeung, Tin Ching, Cheng Kang-Yeh, Ku Kuan-Chung

Directed by Chor Yuen

Expectations: Super high. Been looking forward to these Chor Yuen wuxias for a long time.


In the lineage of Shaw Brothers wuxias, Killer Clans represents the dawn of a new paradigm. The number of wuxia films released by the studio had diminished considerably from the early days of the genre, when literally every martial arts film was a sword-swingin’ tale of chivalrous heroes. In the few years prior to Killer Clans, a good portion of the wuxias released by Shaw were actually holdovers from earlier years, finally released and then promptly forgotten. But Killer Clans, based on Meteor, Butterfly, Sword (流星·蝴蝶·劍), a 1973 novel by Gu Long, performed well enough to make the year’s box office top 10 (either #6 or #7, depending on the source).

To say that this new direction in wuxia filmmaking was a success is an understatement, but it almost never was. Like Chang Cheh, ever searching for a subject that would light the fires of passion, Chor Yuen felt stagnant and in need of a fresh style of film. Chor had abandoned wuxia filmmaking for Cantonese comedies (The House of 72 Tenants, etc.) and dramas (Sorrow to the Gentry, etc.), but the diminishing box office takings of these films demanded he look elsewhere for his film ideas. He decided to adapt some wuxia novels in a style unlike the traditional Shaw wuxia film, but Run Run Shaw rejected every one of his pitches saying that they wouldn’t make money.

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The Sexy Killer (1976)

The Sexy Killer [毒后秘史] (1976)
AKA The Drug Connection

Starring Chen Ping, Yueh Hua, Si Wai, Wang Hsieh, Angela Yu Chien, Tin Ching, Chan Shen, Lee Pang-Fei, Yeung Chak-Lam, Lam Fung, Lau Kwok-Shing, Tung Lam, Kong Yeung, Lin Wen-Wei, Mi Lan, Lam Yi-Wa

Directed by Sun Chung

Expectations: Pretty high.


Expectations can be a film’s worst enemy at times. In the case of The Sexy Killer, I went in thinking about how I had enjoyed the exploitative Shaw films I’d seen in the last few years, as well as how much I liked Sun Chung’s earlier films in my Shaw series (not to mention The Avenging Eagle). But The Sexy Killer was not strong enough to stand up to this kind of pressure. It disappointed me at nearly every turn, only redeeming itself with a great third act (but still a marginal film overall). I may like The Sexy Killer more on a re-watch, but I feel like I’d reach for The Kiss of Death or something from Kuei Chih-Hung’s filmography before I willfully sat down with this one again.

The Sexy Killer begins strong, though. We open in a rock ‘n’ roll club, where teens dance the night away to saxophone-infused atonal jams. One of these dancers is Gao Wanjing (Mi Lan), but she is really here for a more deviant reason: She’s looking to score some heroin to quiet her addictive yearnings. When the dealer comes around she agrees to “do anything” for her fix, and before we know it, the police are investigating the scene where her unconscious body has been found. Her sister, Gao Wanfei (Chen Ping), has come with the cops and she can hardly contain her rage when she sees her sister in such a sorry state. Gao Wanfei is sick of police bureaucracy and their slowness in cleaning up the city, so she vows to do some cleaning of her own.

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Boxer Rebellion (1976)

Boxer Rebellion [八國聯軍] (1976)
AKA Spiritual Fists, Bloody Avengers

Starring Alexander Fu Sheng, Chi Kuan-Chun, Leung Kar-Yan, Jenny Tseng, Woo Gam, Johnny Wang Lung-Wei, Bruce Tong Yim-Chaan, Li Li-Hua, Sun Yueh, Tsui Fu-Sheng, Liu Wei-Bin, Richard Harrison, Henry Bolanas, Wong Cheong-Chi, Han Chiang, Someno Yukio, Yeung Fui-Yuk, Lam Fai, Chiang Tao

Directed by Chang Cheh

Expectations: High.


Of all the films that Chang Cheh directed over his career, Boxer Rebellion was one that the director thought was among his most successful (in artistic terms). The film’s depiction of the Boxer Rebellion and its anti-foreigner sentiment did not agree with the British censors in Hong Kong, so the film was only released in a heavily truncated version (with something like 30–45 minutes edited out) and with the title changed to Spiritual Fists. The film failed miserably under these conditions and this angered Chang Cheh, because as the editor of his memoir notes, “he really poured his heart into Boxer Rebellion.” Later in the book, Chang expresses the wish that someone would rescue the film from a “musty closet” so that it may be seen as intended, if for no other reason than to pay tribute to the work of Fu Sheng held unseen within. Chang died in 2002, but if he had lived just another few years he’d have seen his dream realized when Celestial restored and finally released the full version of Chang’s epic film in 2005.

I have not seen the edited version of the film, but this restored, original vision is without a doubt one of Chang’s finest efforts as a director. He had previously made epic films that brought together large casts and told big, sprawling stories, but not a single one of them is anywhere close to the level of scale and scope seen in Boxer Rebellion. Chang talks in his memoir about tiring of making Shaolin pictures around this time, so once again he looked to craft something new for the Hong Kong market. He set his sights on the war picture, first shooting Seven Man Army (to less-than-satisfactory results, according to Chang), and then following it up with Boxer Rebellion, the highest budgeted Hong Kong film at the time. The resulting film shows a clear influence from its predecessors, with the scale of his epics like The Water Margin or The Heroic Ones, and the intimacy of his Shaolin films like Heroes Two or Disciples of Shaolin.

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Heroes of the Underground (1976)

Heroes of the Underground [丁一山] (1976)

Starring Ling Yun, Ching Li, Meng Yuen-Man, Cheng Kang-Yeh, Wai Wang, Kong Yeung, Liu Wai, Tin Ching, Yeung Chak-Lam, Yeung Chi-Hing, James Ma Chim-Si, Shum Lo

Directed by Pao Hsueh-Li

Expectations: Low, but hopeful.


I knew going into Heroes of the Underground that it wasn’t a martial arts movie, but it was still quite a disappointment. I often schedule contextually interesting movies into my chronological series and I penciled this one in based on a couple of factors. For one, it was written by the same team responsible for Come Drink With Me: King Hu and Ting Shan-Hsi (presumably from the late ’60s when they worked at Shaw together). Secondly, I’ve previously reviewed every Pao Hsueh-Li film up to this point in his career, so I might as well hit this one in order while I can. Thirdly, there were a lot of movies released in 1975 that were finished earlier and held back from release, so when I learned Heroes of the Underground was completed in 1973, I thought it might be worth watching along with the others. And finally, it just looked fun; Ching Li on the poster with a machine gun was quite persuasive! Unfortunately, on every one of those points the film is a disappointment.

Heroes of the Underground tells a story of rebellion during the Second Sino-Japanese War when Japan occupied China and oppressed the people. It is a time regularly depicted on film, from dramas to classic kung fu films to modern films like Ip Man. The film’s Chinese title is merely the main character’s name, though, Ding Yi-Shan, and usually this is an indication that the movie is centered around a renowned hero from history or folk legends. I couldn’t find anything that indicated the character was drawn from fact, but I did find a 1943 Lao She novel, Cremation, which shares a few character names, a setting, and a general plotline of resistance to the Japanese occupation.

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Bruce Lee and I (1976)

Bruce Lee and I [李小龍與我] (1976)
AKA Bruce Lee: His Last Days, His Last Nights, Bruce Lee: His Last Days, I Love You, Bruce Lee

Starring Betty Ting Pei, Danny Lee, Wang Sha, Tony Liu Chun-Ku, James Nam Gung-Fan, Wong Man, Ku Wen-Chung, Lee Pang-Fei, Lee Sau-Kei, Wong San, Gam Dai, Pang Pang, Ling Hon, Kong San

Directed by John Law Ma

Expectations: Low.


The Bruceploitation genre is one that consistently surprises, offering as many unique ideas as it does scenes of “Bruce picking his successor” or footage from his funeral. I had heard that Bruce Lee and I was an especially exploitative look at Bruce Lee’s final days through the eyes of his mistress Betty Ting Pei (who plays herself here). In part, this is true; the film opens with a wild sex scene between Bruce and Betty, with Bruce taking regular breaks to smoke pot or take pills from the bedside table. It’s a whirlwind of bodies and drugs, and in the movie it directly leads to his death. Later the film contradicts this — and perhaps that’s the point — but it’s by far the most memorable thing about the movie, so viewers are likely to come away remembering the very thing the film was trying to dispute.

Bruce Lee’s death was sudden and the exact cause of death has always been up for debate. It was officially ruled a “death by misadventure,” which only led to further speculation on the part of his adoring and growing fan base. Bruce died at the home of Betty Ting Pei, which was initially covered up by Lee’s family who wanted to preserve Bruce’s image in the media. Did Bruce and Betty have an affair or were they just good friends? Who knows, and more importantly does it even matter? Despite the salacious opening that basically fuels the legend, Betty Ting Pei’s participation in this film suggests that it’s an attempt to tell her side of the story so we might understand the bond and friendship that she shared with Bruce Lee.

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