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?

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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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Police Force (1973)

PoliceForce_1Police Force [警察] (1973)

Starring Wong Chung, Lily Li Li-Li, Alexander Fu Sheng, Wang Hsieh, Helen Ko, Wang Kuang-Yu, Wong Shu-Tong, Tung Lam, Fung Hak-On

Directed by Chang Cheh & Ulysses Au-Yeung Jun

Expectations: Moderate.

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It’s never nice when a film pulls a bait-and-switch, but Police Force is one such film. It’s possible that I was an accomplice in this, though, because as soon as I saw Alexander Fu Sheng kicking ass in a karate tournament I got so revved up that anything short of a kung fu barn-burner might have disappointed. But Police Force is only an action film some of the time, and even then a fair portion of the action is more gun-based police stuff than straight kung fu.

Fu Sheng plays a karate master (or a “Karate Kid” as the villain calls him 🙂 ) who is inexplicably singled out by Kao Tu (Wang Kuang-Yu), a petty robber, as a good mark for a job. Really, dude? You just watched Fu Sheng annihilate the competition at the karate tournament, and then decide to target him? OK, whatever! Sometime later, Kao Tu and his buddy assault Fu Sheng and his girlfriend (Lily Li) on a mountain, but Fu Sheng manages to kill one of them before Kao Tu does him in. Fu Sheng’s death fuels Lily Li and Wong Chung’s movie-long search for his killer, but as a viewer it felt deeper than that. Within these 15 minutes of screentime, Fu Sheng is so electric that his charm and energy leaps off the screen with incredible force. This was his first substantial role and he absolutely kills it. There’s no way to watch this movie and not think that he HAS to star in future films. Star power is something that certain people just have, and Fu Sheng has it in spades.

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The Generation Gap (1973)

GenerationGap_1The Generation Gap [叛逆] (1973)
AKA The Traitor

Starring David Chiang, Agnes Chan Mei-Ling, Ti Lung, Lo Dik, Yeung Chi-Hing, Lin Jing, Kong Ling, Johnston Wong Chan-Sin, Ricky Hui Koon-Ying, Shum Lo, Lee Pang-Fei, Dean Shek Tin, Lee Sau-Kei, Chiang Tao, Wong Pau-Gei, Helen Ko, Alexander Fu Sheng

Directed by Chang Cheh

Expectations: Moderate. I never know what to expect with Chang Cheh’s modern films.

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The Generation Gap is another entry into Chang Cheh’s collection of films about the troubled youth of Hong Kong, but this is perhaps his most successful at a dramatic level (at least up to this point chronologically). Does that mean it’s one to watch if you’re interested in dipping your toes into the modern films of Chang Cheh? I guess, although I think your enjoyment of it will directly relate to how much you love you already have for early ’70s Hong Kong film. But whatever, I can’t guess how and why someone else will like this movie, I can only speak for myself. And I liked it quite a lot.

The Generation Gap is about the romance between 21-year-old Ling Xi (David Chiang) and 16-year-old Cindy (Agnes Chan). Their parents both disapprove of the coupling for many reasons, but like all young lovers, they feel like they’ve found the best thing on Earth and their parents are being needlessly protective. The film charts the relationship as it grows and attempts to mature, and as you can imagine there are aspects of it that don’t go as planned (or dreamed) by the two lovebirds.

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The Blood Brothers (1973)

BloodBrothers_1The Blood Brothers [刺馬] (1973)
AKA Dynasty of Blood, Chinese Vengeance

Starring David Chiang, Ti Lung, Chen Kuan-Tai, Ching Li, Cheng Miu, Wong Ching-Ho, Tin Ching, Yeung Chak-Lam, Fan Mei-Sheng, Danny Lee

Directed by Chang Cheh

Expectations: Very high.

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Immediately following the Shaw fanfare, The Blood Brothers explodes out of the gate. A man yells that Officer Ma has been assassinated. Oh no! This is definitely an attention-getting opening, but The Blood Brothers is actually a MUCH more reserved film than this opening would suggest. After the credits have played and the dust has settled, we learn that the assassin is Chang Wen Hsiang (David Chiang), and he asks the court to allow him some paper and ink to write down his tale. Chang doesn’t dispute that he killed Ma Hsin I (Ti Lung), but he insists that his reasoning will make sense once his full story has been told.

Nine years previous, Chang and his sworn brother Huang Chung (Chen Kuan Tai) are staking out a remote road in hopes of robbing whoever should pass their way. It’s been a slow day, but as they argue about possibly going elsewhere, a horse approaches. On it rides one Ma Hsin I, and soon Huang and Ma are trading blows. Ma is too formidable an opponent for this to be just a simple robbery, and Ma also challenges the two men with questions about the nature of the lives they lead. Ma makes an impression on them, as he is a natural leader with ambition, so the three become blood brothers and vow to join forces against the Taiping Army AKA the Long Hairs AKA the Hair Bandits. If I didn’t know the film was based on actual events, I might be inclined to think this was some kind of attack on hippies. 🙂

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The Delinquent (1973)

TheDelinquent_1The Delinquent [憤怒青年] (1973)
AKA Street Gangs of Hong Kong, East-Side Story, Crime Traps

Starring Wong Chung, Lily Li Li-Li, Fan Mei-Sheng, Lo Dik, Dean Shek Tin, Betty Pei Ti, Tung Lam, Fung Hak-On, Danny Chow Yun-Gin, Yen Shi-Kwan, Tino Wong Cheung, Wang Kuang-Yu

Directed by Chang Cheh & Kuei Chih-Hung

Expectations: As a fan of both directors, I’m really curious to see what this joint work is like.

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The Delinquent opens by symbolically introducing the audience to our lead character, John Sum (Wong Chung), in a series of shots where he bursts through plywood paintings representative of the societal woes he struggles against. First, a rural village, which I took to represent tradition and perhaps the ways of his parents. Then it’s a modern high-rise apartment building, a seedy street scene depicting gambling and prostitution, and a final image that we cannot see. John is fed up with it all, including the unknown… he’s The Delinquent! So to have gotten all of that out of the opening moments of the credit sequence, and then spend most of the first half of the movie going over those same points, I was a bit bored and disappointed.

The story in The Delinquent is sparse, amounting to your general “young man lured into a gang” stuff. John is a delivery boy for a small restaurant, but he’s clearly not very motivated. His father attempts to drive some work ethic into him, but it’s no use. John feels like he’s better than his current situation, but with no drive to make anything happen for himself, he’s stuck in a poor, urban life with no hope of escape. The triad takes an interest in John, but not for his strong kung fu skills or his “can’t do” attitude. No, they’ve set their sights on stealing a bunch of stuff from the warehouse where his father works as the watchman, and they think they can influence John to join the dark side with women and money.

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Four Riders (1972)

fourriders_1Four Riders [四騎士] (1972)
AKA Hellfighters of the East, Strike 4 Revenge

Starring David Chiang, Ti Lung, Chen Kuan-Tai, Wong Chung, Lily Li Li-Li, Ching Li, Yasuaki Kurata, Tina Chin Fei, Andre Marquis, Lo Dik, Lo Wai

Directed by Chang Cheh

Expectations: High.

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On one hand, Four Riders wants to be a serious film about how G.I.s deal with the end of a war and what they do with themselves in its wake. But on the other hand, Four Riders wants to deliver all kinds of thrilling, ridiculous action that goes completely against the grain of realism. I expected the over-the-top action — how could I not when the DVD box reads: “…as a kung fu master, combat instructor, explosives expert, and missile specialist must take on a venal drug smuggling gang.” Reading that prior to watching the film really played with my expectations, as I imagined all sorts of mid-’80s action extravaganzas built on similar team-based premises. But this is all a misnomer, as Four Riders has nothing to do with what these men did while they were in the army.

The film opens in the snowy countryside of Korea. The year in 1953 and the Korean War has just come to a close. Chang Cheh spends the first few minutes of the film letting us take in the Korean landscapes, showing us the mountains, the gentle streams of snow water, and eventually the luscious green foliage of spring. This natural progression leads us to a military camp, where Ti Lung is currently stationed… but not for long. As his superior officer drives up, Ti rips off his stripes, throws them in the general’s face and proceeds to start a brawl. In the chaos he steals the boss’s jeep and heads off towards the urban fun of Seoul. The war is over, so he’s indulging his spontaneous, reckless spirit and making up for lost time.

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Man of Iron (1972)

manofiron_6Man of Iron [仇連環] (1972)
AKA Dirty Chan, Warrior of Steel

Starring Chen Kuan-Tai, Ching Li, Wong Chung, Chu Mu, Tin Ching, Bolo Yeung, Yeung Chi-Hing, Pao Chia-Wen, Chiang Tao, Li Min-Lang, Wang Kuang-Yu, Cheung Ging-Boh, Chan Chuen

Directed by Chang Cheh & Pao Hsueh-Li

Expectations: Moderate.

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Man of Iron immediately sets itself up as a sequel to The Boxer from Shantung, but the only returning character is the street where everything happens. I’ve also heard the film referred to as a remake of the previous film, but this is also a misnomer as the stories are vastly different. The Boxer from Shantung is a re-telling of the classic gangster tale Scarface, but Man of Iron bears little resemblance to this rag-to-riches gangster tragedy. Instead, we just have Chen Kuan-Tai playing a character who wants to move up in the gangster hierarchy, but the characters themselves, while sharing some similar goals, are pretty far from being actually similar.

Man of Iron is set 20 years after the end of The Boxer from Shantung. The street and the people who populate it have moved on, and new gangs have grown to control the area. There are two major gang bosses: Chang Gen Bao (Chu Mu) and Yu Zhen-Ting (Yeung Chi-Hung). One day, Yu Chow-Kai (Tin Ching), the son of the gang boss Yu, is gambling and has all of his money taken by Qiu Lian-Huan (Chen Kuan-Tai), a man with a small gang of friends that’s tired of being small time. Yu’s son is a man who has inherited his place in the gangster world, so he is easily bested and intimated by Qiu, a man who has fought to be where he is.

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