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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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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Haunted Tales (1980)

hauntedtales_2Haunted Tales [碟仙] (1980)

Starring Ching Li, Ling Yun, Lin Chen-Chi, Lau Luk-Wah, Yeung Chi-Hing, Ku Kuan-Chung, Chan Shen, Shum Lo, Liu Lai-Ling, Sa Sa, Lau Nga-Ying

Directed by Chor Yuen (The Ghost, Story #1) & Mou Tun-Fei (The Prize Winner, Story #2)

Expectations: The poster is great, so I have high hopes.

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Haunted Tales is a two-film horror anthology from the Shaw Studio, but those expecting a common theme between the tales should seek such synchronicity elsewhere. The first story is a reserved, classically styled ghost story, and the second is a debaucherous, exploitative morality play that’s closer to something Kuei Chih-Hung would have made. But while the tales do not complement one another, they are both engaging and quite entertaining in their differing ways, so Haunted Tales comes out as a great Shaw Brothers take on the horror anthology.

My research on the film led me to this post on the wonderful and always informative Cool Ass Cinema website. I encourage you to read the post if you’re interested in this film, or just some behind-the-scenes ideas of how the Shaw studio was run, and while you’re there explore the site a bit. It’s full of great stuff! Anyway, the gist is that the first story (The Ghost) began life with Chor Yuen as Hellish Soul in 1975, but production shut down and a few years later Ho Meng-Hua was brought in to complete some re-shoots (which also resulted in an unfinished feature). The Prize Winner, Mou Tun-Fei’s short that closes the film, also began shooting as a feature. Instead of completing the features, they were salvaged and combined into Haunted Tales. That explains the differences in tone!

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Na Cha and the Seven Devils (1973)

NaChaandthe7Devils_1Na Cha and the Seven Devils [梅山收七怪] (1973)

Starring Ching Li, Tina Chin Fei, An Ping, Wai Wang, Chen Hung-Lieh, Yu Lung, Got Heung-Ting, Yeung Oi-Wa, Chang Feng, Yueh Yang, Got Siu-Bo, Ho Fan, Lam Lam, Ngai Chi-Wong, Aai Dung-Gwa, O Yau-Man, Law Bun

Directed by Tetsuya Yamanouchi

Expectations: Moderate, but I think it’s gonna be fun.

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Na Cha and the Seven Devils is the type of movie that only certain people will like. It’s essentially an FX movie — nearly every scene has some form of supernatural shenanigans going on — and while the FX are quite ambitious, they don’t necessarily hold up well to modern standards. To be honest, they don’t even necessarily hold up to 1973 standards; everything looked at about a similar level to the work seen in Ho Meng-Hua’s four-film Journey to the West series, and those were all made 5–7 years prior to this. But when a film considered low-budget by American standards has such a plethora of supernatural delights, it’s unfair to think that they’re all going to look fantastic to someone 43 years in the future. And besides, I love these sort of special effects, especially in Hong Kong films, so I loved every minute of Na Cha and the Seven Devils. I merely seek to give you an idea of what we’re talking about here.

Our story begins on Mt. Kunlun, existing high in the sky between heaven and the mortal world, where there is a peach tree that only blossoms every thousand years. It takes another thousand years for the peaches to appear, and another thousand years still for the them to ripen. But, if it’s not already apparent, these are no ordinary peaches! We get our first taste of their power when the mischievous child god Na Cha (Yu Lung) decides he’s hungry. He devours a peach, his eyes glow a bright yellow, and suddenly he can see right through the clouds and into the mortal world! He can also crack rocks & trees in half and cause earthquakes with a single blow! The only problem is that when Na Cha shook the tree to get his peach, he knocked loose the remaining seven peaches. These rogue magical peaches landed on the Earth, and now Na Cha and a pair of his brothers are tasked with retrieving the peaches before the devils can eat them and become immortal.

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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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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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