All Men Are Brothers (1975)

All Men Are Brothers [蕩寇誌] (1975)
AKA Seven Soldiers of Kung Fu, Seven Blows of the Dragon II, Seven Kung Fu Assassins

Starring David Chiang, Fan Mei-Sheng, Chen Kuan-Tai, Wong Chung, Danny Lee, Wang Kuang-Yu, Yue Fung, Ti Lung, Chu Mu, Tin Ching, Tung Lam, Chen Feng-Chen, Bolo Yeung, Lau Gong, Wong Ching, Chang Yang, Betty Chung, Ku Feng, Tetsuro Tamba, Chin Feng, Chen Wo-Fu, Michael Chan Wai-Man, Bruce Tong Yim-Chaan

Directed by Chang Cheh & Wu Ma

Expectations: Super high! A sequel to one of my all-time favorite Shaw films? Yes, please!


The Water Margin is one of my all-time favorite Shaw Brothers films (along with all of Shaw’s other films based on the classic Chinese novel —  Delightful Forest, Pursuit, and to a lesser extent The Amorous Lotus Pan and Chang’s segment in Trilogy of Swordsmanship), so All Men Are Brothers had a lot to live up to. The key to my immense affection for each film lies in how they all carry their own style and are therefore able to stand on their own in companionship with the other films, like the 108 Liang Shan bandits themselves. All Men Are Brothers is another very welcome addition to this lineup, taking its own path along the way to dramatizing a section of the illustrious book.

All of the previous films dealt with chapters from either the beginning or the middle of the book, but All Men Are Brothers seeks to tell the end of the tale. It takes material mostly from Chapters 90–100 (out of 100 total chapters), which deal with the redemption of the outlaws through their struggle to defeat the rebellious Fang La and his generals. A couple of flashbacks tell earlier tales to provide some character depth, and the film opens with Yan Qing’s procurement of the bandits’ pardon from the emperor (which is detailed in Chapter 81), but the film is mostly concerned with bringing everything to a close.

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Five Shaolin Masters (1974)

fiveshaolinmasters_1Five Shaolin Masters [少林五祖] (1974)
AKA Five Masters of Death

Starring David Chiang, Ti Lung, Alexander Fu Sheng, Chi Kuan-Chun, Mang Fei, Leung Kar-Yan, Fung Hak-On, Tsai Hung, Johnny Wang Lung-Wei, Chiang Tao, Li Chen-Piao, Gordon Liu Chia-Hui, Lo Dik, Bruce Tong Yim-Chaan, Stephan Yip Tin-Hang, Lau Kar-Wing

Directed by Chang Cheh

Expectations: The highest. Chang’s Shaolin Cycle is dope.

threehalfstar


Like Heroes Two and Men from the Monastery, Five Shaolin Masters tells a tale about refugees from the burning of the Shaolin Temple. Hung Hsi-Kuan and Fong Sai-Yuk ended up in Kwangtung in the south of China, but the heroes of Five Shaolin Masters fled north to Central China. Structurally, the film also takes a page from Shaolin Martial Arts in that our five heroes must train tirelessly to defeat seemingly invincible enemies. And like this suggests, Five Shaolin Masters ends up feeling like a blended version of all of Chang Cheh’s previous Shaolin Cycle films.

Due to this repetition of themes and structure, Five Shaolin Masters does not reach the heights of either Heroes Two or Shaolin Martial Arts, though it does come close thanks to power of the action. The complexity and dynamism of the choreography by Lau Kar-Leung and his brother Lau Kar-Wing bring the film’s relentless action to brilliant life, culminating in the five stunning, concurrent fights that make up the film’s finale. This is pure martial bliss, and I can’t imagine a martial arts film fan not getting a huge jolt of enthusiasm from this lengthy section of the film, if not the whole thing.

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Shaolin Martial Arts (1974)

shaolinmartialarts_2Shaolin Martial Arts [洪拳與詠春] (1974)

Starring Alexander Fu Sheng, Chi Kuan-Chun, Leung Kar-Yan, Johnny Wang Lung-Wei, Gordon Liu Chia-Hui, Bruce Tong Yim-Chaan, Chiang Tao, Fung Hak-On, Irene Chen Yi-Ling, Yuan Man-Tzu, Lo Dik, Chiang Nan, Fung Ngai, Simon Yuen Siu-Tin, Lau Kar-Wing, Lee Wan-Chung

Directed by Chang Cheh

Expectations: Extremely high. I love the first two Shaolin Cycle films, and have wanted to see this one for years.

fourstar


Shaolin Martial Arts is a brilliant evolution of the kung fu movie that features a huge and incredibly talented cast. They really brought out the big guns for this one, including Shaolin Cycle stars Alexander Fu Sheng and Chi Kuan-Chun, Leung Kar-Yan (AKA Beardy) and Johnny Wang Lung-Wei in their film debuts, Gordon Liu in his Shaw Brothers debut (his only previous credit was as an extra on the 1973 independent film The Hero of Chiu Chow), Lau Kar-Wing, even Simon Yuen shows up as a cranky old master. And that’s just the bigger names, as the film also boasts wonderful performances from Chiang Tao, Fung Hak-On, Chiang Nan, Fung Ngai, Bruce Tong Yim-Chaan, Irene Chan Yi-Ling and Yuan Man-Tzu. But despite this varied and well-used cast, not a single one of them are the true star of the film.

The monumental cast is but one half of the creative puzzle, and the matchless team of writer/director Chang Cheh, co-writer Ni Kuang, and action choreographers Lau Kar-Leung and Tang Chia have truly created something special and unique with this film. Where Heroes Two and Men from the Monastery told dramatic tales of folk heroes running for their lives after the burning of the Shaolin Temple, Shaolin Martial Arts is about the passage, preservation and impermanence of knowledge. Shaolin itself is the star of the movie, and more specifically: the Shaolin martial arts. The film’s Chinese title translates to Hung Gar and Wing Chun, so this focus on style and martial technique is even clearer in the original language (similar to how Heroes Two is called Fang Shih-Yu and Hung Hsi-Kuan in Chinese).

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Friends (1974)

Friends_1Friends [朋友] (1974)

Starring David Chiang, Alexander Fu Sheng, Lily Li Li-Li, Lee Yung-Git, Lo Dik, Matsuoka Minoru, Wai Wang, Helen Ko, Danny Chow Yuen-Kin, Chen Wo-Fu, Bruce Tong Yim-Chaan, Wang Kuang-Yu

Directed by Chang Cheh

Expectations: I’m really excited for this one. I’ve really come to love these deliquent youth movies of Chang Cheh’s.

threestar


From a quick glance over Chang Cheh’s filmography, Friends seems to be his final modern-day delinquent youth action drama. And wouldn’t you know it… it feels like it! There is a positive energy running through Friends that isn’t in the other films. Friends notably starts with a scene set years after the main section of the film, when the titular friends are gathered together and reminiscing over their wild, youthful days gone by. They are all successful in their various fields, and can now look back on their earlier struggles and laugh at their absurdity. Chang’s previous youth films were all steeped in angst and an inability to fit in with society in one way or another, so to open Friends showing that these characters have already achieved this goal of assimilating successfully into society (and seemingly doing so without compromising their dreams) immediately announces a different type of film than his other films in the genre.

The film then cuts back in time an indiscriminate number of years, to when the group was just a bunch of unmotivated friends stuck in entry-level jobs. Hua Heng (David Chiang) dreams of being an artist, but for now he has a job painting a mural on the side of the Seiko building. Hua’s girlfriend, Gao Xin (Lily Li Li-Li), is a bar girl deep in debt to her employer, and at risk for turning to prostitution to pay him back. The others work as delivery boys, mechanics, and other similar jobs, but there is one outlier.

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Men from the Monastery (1974)

MenfromtheMonastery_1Men from the Monastery [少林子弟] (1974)
AKA Disciples of Death, Dragon’s Teeth

Starring Chen Kuan-Tai, Alexander Fu Sheng, Chi Kuan-Chun, Chiang Tao, Lo Dik, Bruce Tong Yim-Chaan, Wu Hsueh-Yan, Wong Ching, Fung Ngai, Wu Chi-Chin, Fung Hak-On

Directed by Chang Cheh

Expectations: High, I like this one.

threehalfstar


Men from the Monastery was the second film in Chang Cheh’s Shaolin Cycle, and it serves as both prequel and sequel to Heroes Two. The story is broken up into segments like an anthology film, except it’s more like being fed pieces of the narrative in chunks that eventually add up to something. The first two segments occur prior to the events of Heroes Two, while the third and forth segments act as the continuation of the combined stories of both films. It’s a structure unique to Men from the Monastery (at least up to this point chronologically), and while I’d generally prefer a standard narrative, it works very well here, especially with the events of Heroes Two fresh in my mind.

We begin with Fang Shih Yu (Alexander Fu Sheng) while he is still a student at the Shaolin temple. Within a few minutes, he’s challenging the “Wooden Men Alley” to prove that he has the skills to leave. At this point, Chang Cheh also subtly introduces us to Shaolin’s perennial villains: Wu Dang (better known in the Western world as Wu Tang) and Pai Mei, the White Eyebrow Priest (who only appears in shadow for a moment). Flashes of Fang’s wooden-man trial and his subsequent battle on poles are shown in Heroes Two when we first meet him, but it’s great fun to see these sequences play out as full scenes. It’s almost like Chang Cheh originally had a three-hour cut of Heroes Two and decided to split it up into two complimenting films. I honestly think this may have been the case, as there are possibly some other indicators of this (such as Chi Kuan-Chun’s inclusion in the Hung Fist intro to Heroes Two). So feel free to add “out-of-order, chapter-based films” and “splitting a long film in two” to the list of things Tarantino co-opted from the Chang Cheh playbook. 🙂

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Heroes Two (1974)

HeroesTwo_1Heroes Two [方世玉與洪熙官] (1974)
AKA Kung Fu Invaders, Blood Brothers, Bloody Fists, Temple of the Dragon, Fang Shih Yu and Hung Hsi Kuan

Starring Alexander Fu Sheng, Chen Kuan-Tai, Fong Sam, Bruce Tong Yim-Chaan, Chu Mu, Wong Ching, Fung Ngai, Fung Hak-On, Chiang Nan, Wu Chi-Chin

Directed by Chang Cheh

Expectations: High, I really like this one.

fourstar


Out of context, Heroes Two seems just like any number of kung fu films that followed in its wake. This is how I first experienced it a few years ago, viewing it after my old cohort Uncle Jasper wrote a review. In the intervening years, I’ve worked my way back around to the film chronologically, and now Heroes Two plays as it should: as a complete revelation to the genre. It’s a call to arms, a new type of kung fu film that would go on to influence and define the genre for many years to come.

Heroes Two originally played with a short intro film called Three Styles of Hung School’s Kung Fu, also replicated on the DVD/Blu-ray for your viewing pleasure. It’s a great little film, showcasing the raw skill and solo talents of the stars of Heroes Two, as well as Chi Kuan-Chun who joins them in the follow-up film Men from the Monastery. Not only does this short film announce the feature’s commitment to presenting actual kung fu on-screen, it also signals that Heroes Two is a special film, bringing something new and unique to the audience. Imagine seeing Heroes Two without ever having seen the multitude of traditional kung fu films that followed it! The feature was a great success, too, ranking #12 among all Hong Kong films at the local box office, with only four other martial arts films ranking higher (Five Shaolin Masters, The Virgin Mart, The Tea House, and Chinatown Capers… if you’re wondering).

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The Pirate (1973)

thepirate_2The Pirate [大海盜] (1973)

Starring Ti Lung, David Chiang, Tin Ching, Lau Gong, Bruce Tong Yim-Chaan, Fan Mei-Sheng, Yue Fung, Dean Shek Tin, Wu Chi-Chin, Yeung Chak-Lam, Lo Dik, Wang Kuang-Yu, Cheng Kang-Yeh, Ko Hung, Yuan Man-Tzu, Wong Ching-Ho

Directed by Chang Cheh, Wu Ma & Pao Hsueh-Li

Expectations: High. Pirates, Ti Lung, David Chiang, and Chang Cheh? How can I not be pumped?

threehalfstar


I didn’t know quite what to expect going into The Pirate, but it’s safe to say that the opening sequence fulfilled pretty much every expectation I had. The film commences with a naval battle between a British ship and a Chinese pirate ship. The pirate captain is none other than Ti Lung, playing the chivalrous pirate Chang Pao-Chai, who was a real pirate in the 19th Century. Ti Lung performs like a Chinese Errol Flynn, athletically swinging from ropes and laying waste to everyone in his path with ease after the pirates board the British ship. I’ve loved the swashbuckling good times of Flynn and Douglas Fairbanks for years, so as soon as the film started it had me right in its pocket. (Do pirates have pockets?)

Having fulfilled the average moviegoer’s idea of a pirate movie, the film is free to reveal its true nature. It’s not so much about smuggling or thieving, as it is a drama about morality. Written by that ever-resourceful scribe Ni Kuang, The Pirate slowly introduces multiple factions that each have their own goals and desires. Of course, they all intersect and conflict with one another as the plot unfurls, with two defined villains, two heroes who are also villains depending on your moral standpoint, and one neutral group that is at the mercy of the others’ whims. This landscape works to great effect in presenting the tortuous life of a pirate with enemies on all sides.

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