Ghost Eyes (1974)

Ghost Eyes [鬼眼] (1974)

Starring Chan Sze-Kai, Si Wai, Lam Wai-Tiu, Teresa Ha Ping, Yeung Chak-Lam, Chan Mei-Hua, Cheung Lai-Guk, Wong Ching-Ho, Leung Seung-Wan, Kong Oh-Oi, Chan Lap-Ban, Ma Siu-Ying

Directed by Kuei Chih-Hung

Expectations: High.


After Chang Cheh, I’d say that Kuei Chih-Hung is my favorite Shaw director. His work is inspired and influential, and while he never got his due credit during his lifetime, Celestial’s remastering work has definitely allowed intrepid film fans to discover his legacy and give it the recognition it deserves. Kuei’s first horror film was The Killer Snakes, with Ghost Eyes following in its wake nine months later. The Killer Snakes is definitely the superior film, but Ghost Eyes is a great movie that represents the first dip into supernatural horror for Kuei.

Wang Bao-Ling (Chan Sze-Kai) is a manicurist at a beauty shop. A mysterious man, Shi Jong-Jie (Si Wai), comes in for a treatment and takes an interest in Wang when he learns that she lives alone. After work, Wang is almost struck by a car and her glasses fall to the asphalt and shatter. Wouldn’t you know it, Shi is there to comfort her… and he just so happens to run an optical store! He invites her over for some contact lenses, under the advice that if she had been up with the times she wouldn’t be in this predicament with broken glasses. She takes him up on his offer, but the results aren’t exactly what Wang hoped they’d be! For one, she starts to see ghosts!

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The Ghost Lovers (1974)

The Ghost Lovers [艷女還魂] (1974)
AKA A Woman with Half Soul

Starring Li Ching, Lam Wai-Tiu, Kim Mu-Yeong, Joo Yong, Chan Mei-Hua, Shum Lo, Wang Han-Chen, Wong Ching-Ho, James Ma Chim-Si, Hung Sing-Chung, Fung Ging-Man

Directed by Shin Sang-Ok

Expectations: Moderate.


A title like The Ghost Lovers signals a horror film with a softer edge, and this is definitely the case. It’s not so much a horror film as it is a supernatural drama, although there are lots of good scares and frightful images peppered through the film. I expected this to be the case so I wasn’t disappointed, but I wasn’t ready for how the film would twist the traditional ghost narrative into something unique. The film begins rather straightforward, but as the tragedy of the situations deepen the whole thing sort of flips in on itself. It’s hard to describe without spoiling it, and maybe even drawing attention to this point will diminish its power a bit, but it worked on me and hopefully it’ll work on you, too.

Song Lian-Hua (Li Ching) lies deathly ill in her bed, surrounded by her wet nurse and her family. Song has been betrothed to Han Shi-Long (Lam Wai-Tiu) since they were children, but they haven’t seen each other since. Han’s father was once governor of their town, but was forced to flee after his name was illegitimately slandered and they lost everything. With Song’s condition worsening, they send for Han to visit Song before she dies, but when the messenger returns he says that Han set out two days prior and should have already arrived! Promptly thereafter, Song Lian-Hua dies and it would seem that these star-crossed lovers were doomed to never meet (and Li Ching never to utter a single line in a film she stars in!)

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The Spiritual Boxer (1975)

The Spiritual Boxer [神打] (1975)
AKA Naked Fists of Terror, Fists from the Spirit World

Starring Wong Yu, Lin Chen-Chi, Kong Yeung, Shut Chung-Tin, Fung Hak-On, Lee Hoi-Sang, Ng Hong-Sang, Ngaai Fei, Chan Shen, Teresa Ha Ping, Chan Mei-Hua, Wong Ching-Ho, Keung Hon, Lee Sau-Kei, Shum Lo, Tin Ching, Chen Kuan-Tai, Ti Lung, Wilson Tong, Ho Kei-Cheong

Directed by Lau Kar-Leung

Expectations: High.


The Spiritual Boxer marks the directorial debut of one of the most influential figures in all of martial arts movie history: Lau Kar-Leung. Along with frequent partner Tang Chia, Lau began work at the Shaw studio choreographing Shaw’s first color martial arts film: Temple of the Red Lotus — a job they secured after pioneering Hong Kong’s first wirework in the Great Wall film The Jade Bow. Over the next 10 years, Lau’s collaborations with Chang Cheh resulted in a slew of iconic and lasting martial arts films that defined the genre. Lau’s goal throughout his film work was to bring more true-to-life representations of martial arts to the screen, and this ambition eventually led to Chang Cheh’s Shaolin Cycle of films. These films represented the closest Lau had come to realizing his dreams, and his strong, definite ideas led to a falling out with Chang Cheh during the filming of Disciples of Shaolin (though I’ve also seen it cited as being during Marco Polo, which Lau is not credited on). Producer Mona Fong then invited Lau Kar-Leung to return from Chang’s Film Co. in Taiwan to direct a movie of his own at the Shaw Brothers Studio in Hong Kong. Obviously, he took the offer and The Spiritual Boxer was the result.

The film begins near the end of the Qing dynasty with an intro showcasing the history of the “spiritual boxer,” a martial artist who could become invincible to all weapons after being infused with spirits of legend. Chen Kuan-Tai and Ti Lung make wonderful cameos as the spiritual boxers showing off their skills to the Empress Dowager Cixi, but the film isn’t about them, or this time, or even a spiritual boxer of the same ilk; it’s actually about a young apprentice, Hsiao Chien (Wong Yu), who travels the land with Master Chi Keung (Kong Yeung) performing spiritual boxing rituals. What their audiences don’t know is that they are just performers trying to earn a living from the reputation of the spiritual boxers, and when this trickery doesn’t go as planned it leads to much of the film’s conflict & comedy.

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Big Brother Cheng (1975)

Big Brother Cheng [大哥成] (1975)

Starring Chen Kuan-Tai, Karen Yip Leng-Chi, Tung Lam, Wai Wang, Chung Chan-Chi, Lam Wai-Tiu, Lau Luk-Wah, Wong Yu, Fung Ging-Man, Chan Lap-Ban, Chan Mei-Hua, Shum Lo, Yeung Chak-Lam, Bruce Le

Directed by Kuei Chih-Hung

Expectations: High.


Big Brother Cheng is the smash-hit sequel to The Tea House (it was the Shaw Brothers’ 2nd biggest film of 1975!), but it’s far different than I expected it to be. At the end of the first film, Big Brother Cheng (Chen Kuan-Tai) and his family are set up to have an all-together new type of story told about them. I was excited to see this promised new direction unfold, so when it was summarily dispatched within the first minutes of Big Brother Cheng I was completely taken off guard. Instead of venturing forward into a new life, Big Brother Cheng is immediately pulled back into his role at the tea house.

As we learned in the first film, managing the tea house is more of a secondary concern of Cheng’s. His real passion lies in protecting and strengthening his community, dispensing justice where he feels that the laws have failed the honest people of the area. The first film explores this through various stories involving different levels of law enforcement and how they handle the crimes that come to them, with Cheng trying his best to keep crime at bay through diplomatic means as well as physical. Big Brother Cheng is similarly structured, but here Cheng is more fed up and ready to go on the offensive against the crime in his area. For instance, when a rape occurs Cheng and his loyal staff capture the men and ruthlessly humiliate them by making them strip and run around the room with an assortment of bottles, cans and bricks tied directly to their penises. They may not have served jail time, but there is something to be said for the deterring nature of this kind of rogue justice.

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