The Land of Many Perfumes (1968)

The Land of Many Perfumes [女兒國] (1968)

Starring Chow Lung-Cheung, Ho Fan, Pang Pang, Tin Sam, Fang Ying, Lee Heung-Gwan, Lau Leung Wa, Irene Chen Yi-Ling, Wong Ching-Wan, Cheung Yuk-Kam, Kong Dan, Yip Bo-Kam, Lee Hung-Chu, Gloria Wang Xiao-Ing, Tsang Choh-Lam

Directed by Ho Meng-Hua

Expectations: Moderate. I’m getting somewhat bored of these because they’re all pretty similar.


What’s to say about this series that I haven’t already said? The Land of Many Perfumes is the fourth and final entry into the Shaw Brothers Journey to the West series of films, and unfortunately it’s the most minor of them all. Like the previous films, The Land of Many Perfumes opens with the monk Tang and his followers looking for a place to sleep at night. It’s a long, hard road to the West in search of Buddhist scriptures and beds are hard to come by.

The many perfumes of the title do not refer to thousands of little bottles of “eau du toilette” as you might expect. Nope, they’re talking about all the ladies in the region. Our heroes venture into a realm where only women dwell, reproducing via the river, but this method only allows them to produce female offspring. When the men arrive on the scene, it creates a frenzy among the women as many of them have never seen a man. They all wish to marry Tang, but it is the Empress and her daughter that scuffle the most about it. They don’t want to eat his flesh as the villains in the previous films all did, but they do lust for his flesh in other ways.

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The Assassin (1967)

The Assassin [大刺客] (1967)

Starring Jimmy Wang Yu, Lisa Chiao Chiao, Lee Heung-Gwan, Tien Feng, Wong Chung-Shun, Cliff Lok Kam Tung, Lam Jing, Fang Mian, Cheung Pooi-Saan, Cheng Lui, Wang Kuang-Yu, Ma Ying

Directed by Chang Cheh

Expectations: High, it’s Chang Cheh’s next movie after The One-Armed Swordsman. I’m pumped!


Chang Cheh does it again with his third film of 1967, after the lackluster Trail of the Broken Blade and the genre-defining The One-Armed Swordsman. As soon as the film starts it’s clear that Chang’s intentions were different for this film. He didn’t go in hoping to directly capitalize on his past success, nor did he set out to make a traditional martial arts picture. Instead, The Assassin opens with a large block of story text about the warring states of China, accompanied by a bombastic, epic musical score. The first frame of footage is a sword graphically plunging through a human torso with a spray of deep red blood. Wow!

This opening betrays the film a bit as it sets up the modern viewer for an over-the-top, exaggerated display of wall-to-wall bloodshed and the film is very far from this expectation. In fact, it is a character-driven historical epic tragedy and it succeeds on every level. Martial arts films are not known for their quality stories and writing, but The Assassin bucks all trends and delivers one of the richest tales the genre has to offer. Instead of being a martial arts film with a few quality scenes of drama, this expectation is flipped on its head. The characters are deep and full of life, their decisions having ripple effects throughout the lives of everyone else in the story. It is all incredibly well told and is a testament to Chang Cheh’s writing ability in addition to his skill behind the camera. The Assassin sits high on top of the heap when it comes to well-written kung fu pictures.

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