The Bloody Escape (1975)

The Bloody Escape [逃亡] (1975)

Starring Chen Kuan-Tai, Shih Szu, Wai Wang, Wu Chi-Chin, Chiang Tao, Chan Shen, Li Min-Lang, Yeung Chi-Hing, Pao Chia-Wen, Wong Ching-Ho, Lei Lung, Chen Wo-Fu

Directed by Sun Chung (and Chang Cheh to some degree)

Expectations: High.


The Bloody Escape was one of the many films released in 1975 that had actually sat around unfinished for a while. Some magazine scans on Cool Ass Cinema show that the film started shooting as a solo directing gig for Chang Cheh, but from another scan in a post on the Kung Fu Fandom message board we can see that Sun Chung was cited as a joint director from the beginning of the project. For some reason the film wasn’t finished at that time, though, leaving Sun Chung to finish it up for its eventual release in 1975. The film’s on-screen credits list Sun Chung as the sole director, but all the online databases and even Chang Cheh’s memoir list Chang as the film’s co-director (and co-writer). How much of the film is Sun Chung and how much is Chang Cheh is something we may never know, but in terms of feel The Bloody Escape definitely doesn’t give off the usual vibe of a Chang Cheh film.

What it does feel like is a variation on what is probably Sun Chung’s most well-known film, The Avenging Eagle… three years before that film came out! So I suppose it’s actually the other way around, but I imagine almost everyone watching Shaw films nowadays came to the films in the “incorrect order.” In any case, The Avenging Eagle is one of the best Shaw Brothers films out there, bearing a wonderful story and script by Ni Kuang, so an earlier, lesser version of that film starring Chen Kuan-Tai is quite the find among the many nooks and crannies of the Shaw catalog.

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Men from the Monastery @ ShawBrothersUniverse.com!

Hello, faithful Emulsionites! Just wanted to post a short note here about my new gig writing for the official Shaw Brothers site run by Celestial Pictures: ShawBrothersUniverse.com. My first post went up a couple of weeks ago, and it’s about one of my favorite subjects: Men from the Monastery and its place in Chang Cheh’s Shaolin Cycle! Go check it out, and be on the lookout for more like it to follow!

The Fantastic Magic Baby (1975)

The Fantastic Magic Baby [紅孩兒] (1975)

Starring Ting Wa-Chung, Lau Chung-Chun, Chiang Tao, Cheung Chuen-Lai, Woo Gam, Tsai Hung, Fung Hak-On, Ku Kwan, Teng Jue-Jen, Chen I-Ho, Yeung Fui-Yuk, Chao Li-Chuan, Siu Wong-Lung, Lee Lung-Yam, Phillip Kwok Chun-Fung

Directed by Chang Cheh

Expectations: High. Chang Cheh and Journey to the West!


In a career full of intriguing and entertaining films, Chang Cheh’s The Fantastic Magic Baby is one of his most interesting and unique. On the surface, it is an adaptation of a story from the Chinese classic Journey to the West, but it quickly reveals itself to be much more than that. Like Chang’s Shaolin Cycle films, The Fantastic Magic Baby honors and preserves the legacy of a Chinese tradition, showcasing the beautiful movements of the Peking Opera as only a Chang Cheh film could.

For those unfamiliar with Journey to the West, the basics are all present in the film. The Monk Tripitaka (Teng Jue-Jen) is traveling to retrieve sacred Buddhist scriptures from India with his companions Sun Wukong the Monkey King (Lau Chung-Chun), Bajie AKA Pigsy (Chen I-Ho) and Sha Seng AKA Sandy (Yeung Fui-Yuk). Demons and other devious entities catch wind of their travels and seek to imprison them in order to eat the monk’s flesh, which can supposedly prolong their lives 1,000 years. In this particular story, it is Princess Iron Fan (Woo Gam) and the Ox Demon King (Chiang Tao) who desire the monk’s flesh. They send their son Red Boy (Ting Wa-Chung) — the fantastic magic baby of the title — to capture Tripitaka for their pleasure. Red Boy is perfect for the mission because he has recently mastered the Three Types of True Fire, which are so powerful that not even the Monkey King can withstand them.
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Disciples of Shaolin (1975)

Disciples of Shaolin [洪拳小子] (1975)
AKA The Invincible One, The Hung Boxing Kid

Starring Alexander Fu Sheng, Chi Kuan-Chun, Chen Ming-Li, Wang Ching-Ping, Lo Dik, Chiang Tao, Fung Hak-On, Han Chiang, Fan Sau-Yee, Hui Lap, Cheung Siu-Kwan

Directed by Chang Cheh

Expectations: High.


Chang Cheh’s Shaolin Cycle films are among my favorite productions in the entire Shaw Brothers catalog, so whenever I see a new one I get extraordinarily excited about it. Disciples of Shaolin did not disappoint, although it is far more subtle in its greatness than I expected. It’s a great martial arts picture, but more importantly it is primarily a character-driven drama. As such, it’s one of Chang Cheh’s most nuanced and focused films. Especially at this time in his career, Chang made a lot of films that were large-scale and wide-reaching. Even his explorations into modern romance and delinquency never felt quite as tightly focused on a single character as Disciples of Shaolin focuses on Fu Sheng’s character, Guan Feng Yi.

Guan arrives in town in search of his brother, Wang Hon (Chi Kuan-Chun). Wang works at the local textile mill, dutifully operating one of the weaving machines. Guan is a poor man, but he’s a happy-go-lucky guy regardless (as you’d expect with Alexander Fu Sheng). Wang is his polar opposite, living life with a strict sense of duty and responsibility. On the way in to see Wang, Guan couldn’t help but notice the poor quality of kung fu being taught to the employees, so when he asks Wang to get him a job at the mill, his first suggestion is to take over teaching kung fu. To this notion Wang flatly refuses, advising Guan that it would be prudent to hide his abilities. Wang does not elaborate on his reasoning, but his stern face communicates the grave nature of his request.

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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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Top 10 Film Discoveries of 2016

As always, over the course of the year I run into a number of fantastic older films that I had previously never seen. In 2016 there were more than usual because I watched a TON of stuff, more than I had in many years, and I dug hard into my favorites genres of martial arts and horror. I figured if I was going to focus on watching movies in my limited free time, I might as well further explore the genres that truly excite me. You gotta do what feels right, and nothing feels more right to me than Hong Kong movies and horror.

So here ya go: my top 10 films I saw in 2016 that were new to me. Maybe you like them, too?


#10 Navajo Joe (1966)
Directed by Sergio Corbucci

Sergio Leone is the most well-known director of Spaghetti Westerns, but everyone should know about Sergio Corbucci, too. He made Navajo Joe just a few months after releasing the genre classic Django, and Navajo Joe just might be the better and more entertaining film. Burt Reynolds stars as Navajo Joe, a Native American out for revenge. The film is taut, lean and action-packed; if you’re a fan of westerns, this is a must-see film. And it might even make a non-believer think twice about the genre’s possibilities.

#9 The Grandmaster (2013) – HK Version
Directed by Wong Kar-Wai

In any obsession or addiction, there is always a feeling of chasing that initial high achieved during the discovery phase. When I was first getting into Hong Kong movies in the mid/late ’90s, I watched all of Wong Kar-Wai’s then-released films and really enjoyed them (even though I don’t think I ever really “got” them). I was so excited to watch The Grandmaster when it was first released that I ordered the Hong Kong Blu-ray as soon as it was available. But it sat on my shelf for something like three years because I had heard middling things about it and I couldn’t muster the desire to watch it. But then I did, and not only did I love The Grandmaster, it made me once again feel the rare, sweet bliss that defined my discovery of Hong Kong film. It’s not a martial arts film by the traditional definition, but it is a beautiful film about the martial arts, the philosophies at their foundations, and the difficult pursuit of reaching the pinnacle in a skilled art.
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Shatter (1974)

shatter_1Shatter [奪命刺客] (1974)
AKA Call Him Mr. Shatter

Starring Stuart Whitman, Ti Lung, Lily Li Li-Li, Peter Cushing, Anton Diffring, Yemi Goodman Ajibade, Ko Hung, Keung Hon, James Ma Chim-Si, Lee Hoi-Sang, Lau Nga-Ying, Huang Pei-Chih, Lau Kar-Wing

Directed by Michael Carreras (who took over from Monte Hellman), with some help from Chang Cheh

Expectations: Low, but it has Ti Lung so…

onehalfstar


If you’ve ever wondered why the great Ti Lung never really made it big outside of Asia, look no further than the Shaw Brothers/Hammer Films co-production Shatter! I went into this movie assuming that Ti Lung played a character named Shatter, and that he was so named because his fists were so powerful they shattered the bones of his opponents. But no! Shatter is just some boring white dude (Stuart Whitman) who doesn’t really do anything to justify naming a movie after him. The filmmakers do their best in the editing to make Whitman look like Ti Lung’s equal in the fist fights, but the illusion was not convincing. The film flopped hard at the box office, as well, cutting the three-film contract between Shaw and Hammer short at two.

Shatter begins the film in East Africa, where he assassinates a top general with a gun concealed inside a camera (and fired by taking a picture). Shatter flees to Hong Kong to receive his payment for the job, but when he meets with his contact, Hans Leber (Anton Diffring), Hans gives him the runaround and refuses to pay him. This is where the plot kind of lost me. Chinese assassins are trying to kill Shatter, but I don’t know how they fit it exactly. Peter Cushing (in his final appearance for Hammer) and some goons show up to intimidate/beat up Shatter for some reason, and this is where Ti Lung and Lily Li enter the story. They take Shatter in to help him recuperate, and then magically Lily Li is deeply in love with him and Ti Lung is ready to risk his life for Shatter’s cause (which as far as I could tell was just to get paid). I don’t really understand why any of that happens, but it does.

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