The Naval Commandos (1977)

The Naval Commandos [海軍突擊隊] (1977)

Starring Lau Wing, Chi Kuan-Chun, David Chiang, Alexander Fu Sheng, Shih Szu, Ti Lung, Bruce Tong Yim-Chaan, Chiang Sheng, Phillip Kwok Chun-Fung, Lu Feng, An Ping, Woo Kei, Shan Mao, Lee Sau-Kei, Chu Jing, Kwok San-Hing, Lam Fai-Wong, David Tang Wei

Directed by Chang Cheh (with Pao Hsueh-Li, Wu Ma, and Liu Wei-Bin)

Expectations: Pretty high.


The Naval Commandos was one of the last movies Chang Cheh made in Taiwan before returning to the Shaw studio in Hong Kong. It was produced in cooperation with Taiwan’s Central Film Company, and like 7-Man Army, the Taiwanese military assisted with the filming by providing vehicles and other tools of war to make the film realistic. This is evident throughout the film, but it is the most prominent during the film’s introduction and frame story. It depicts a training exercise simulating the many pieces involved in a successful beachfront invasion (similar to the D-Day invasion shown in Saving Private Ryan or The Big Red One). It works beautifully to set the stage for the wartime action drama to follow, as well as serving as a large-scale display of power for the Taiwanese military.

This introduction is great, and it perfectly frames the film, but the film’s primary story is far more interesting. Many years prior during the Second Sino-Japanese War, when the Chinese Navy was less advanced, the Japanese cruiser Izumo (referenced as Izuma in the subtitles) was docked in Japanese-controlled Shanghai in preparation for further attack on China. The Chinese Navy had nothing that could stand up to the Izumo in direct battle, so it is decided that a small group of men aboard a torpedo boat will try to perform a sneak attack disguised as a fishing boat. Getting there is not so easy, though, as there is a huge field of mines to be crossed and Japanese patrols to elude. It is a valiant plan in theory, but unfortunately it is derailed before it even has a chance of success. The men arrive in Shanghai, undeterred and focused on finding a new method of sinking the Izumo.

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Shaolin Temple (1976)

Shaolin Temple [少林寺] (1976)
AKA Death Chamber

Starring Alexander Fu Sheng, Chi Kuan-Chun, Wai Wang, David Chiang, Ti Lung, Johnny Wang Lung-Wei, Yueh Hua, Wong Chung, Lau Wing, Bruce Tong Yim-Chaan, Phillip Kwok Chun-Fung, Li Yi-Min, Shih Szu, Ku Wen-Chung, Shan Mao, Chiang Sheng, Ku Feng, Lu Feng, Wong Ching, Tsai Hung, Chiang Nan, Shum Lo, Wang Han-Chen, Lee Sau-Kei, Liu Wai, Hao Li-Jen

Directed by Chang Cheh (with Wu Ma)

Expectations: Another Shaolin Cycle film. Yes, I’m still expecting greatness.


Shaolin Temple isn’t Chang Cheh’s last Shaolin film, but it is the last in his Shaolin Cycle that began with 1974’s Heroes Two. His later Shaolin films with the Venom Mob actors may relate in some ways, but I consider them separately from the Shaolin Cycle films. Anyway, Shaolin Temple is a great finale to Chang’s non-linear series with a habit of contradicting itself and re-telling different versions of the same story. Shaolin Temple showcases something that has been talked about in just about every film, but has yet to be shown in its full glory: the Shaolin Temple itself. In classic Chang Cheh fashion, it’s also not a typical martial arts film; it’s one that puts the Shaolin Temple and its teachings at the forefront of the film, above character development and even plot. If you’ve seen all the previous entries, this isn’t a big deal, but newcomers might be a little lost with the sheer amount of characters in the film.

Shaolin Temple is basically a prequel to Five Shaolin Masters and Heroes Two/Men from the Monastery/The Shaolin Avengers (and while we’re building shaky Shaw Shaolin timelines, Lau Kar-Leung’s The 36th Chamber of Shaolin would come directly before Shaolin Temple). It also re-tells/re-imagines certain aspects that would tie into those films, so it’s not the type of prequel that completely works. That doesn’t matter in this case, though, as these are folk tales just waiting to be re-imagined and re-told as the teller sees fit. In any case, the film opens with Hung Hsi-Kuan (here played by Wang Wai), Fang Shih-Yu/Fong Sai-Yuk (Alexender Fu Sheng), and Hu Huei-Chien (Chi Kuan-Chun) kneeling outside the Shaolin Temple in hopes of being accepted for training in the martial arts. The Grand Master (Ku Wen-Chung) decides that after five days of kneeling, the men are dedicated enough to withstand the hardships of Shaolin training. What ultimately sways him is his feeling that if he does not teach them, the very survival of the Shaolin martial arts might hang in the balance. They enter the temple, and it begins a new era of the temple training outsiders to aid their resistance against the oppressive Qing government.

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Brotherhood (1976)

Brotherhood [江湖子弟] (1976)

Starring Lau Wing, Woo Gam, Lily Li Li-Li, Wang Hsieh, Shut Chung-Tin, Chiang Tao, Cheng Miu, Chan Shen, Leung Seung-Wan, Fung Ging-Man, Yeung Chak-Lam, Keung Hon, Ngaai Fei, Shum Lo, Liu Wai, Lee Sau-Kei, San Kuai, Hao Li-Jen, Wong Ching-Ho, Ku Kuan-Chung, Bobby Canavarro, Yuen Biao

Directed by Hua Shan

Expectations: Excited to finally see a Hua Shan movie that isn’t Super Inframan.


Brotherhood is a great piece of entertainment, but as a cohesive film it’s a little less successful. It tells a story of Liao (Lau Wing), a man who becomes part of a powerful Hong Kong triad, but long stretches of the movie leave this character by the wayside to focus on the triad itself and the politics within. It shifts its focus so seamlessly that I honestly didn’t notice until it had been at least 15 minutes, but once the realization hit it was hard to ignore. The movie works its way back around to Liao, but the two stories aren’t intertwined well enough. When we rejoin Liao, he’s also evolved into a different type of person. I would have preferred to see the evolution, although with tons of movies that already do this, perhaps I should just enjoy Brotherhood for cutting out the middleman. In any case, I had some troubles with the film (that might be resolved with a re-watch), but none of them really hinder the film’s constant, high-value entertainment.

Liao Da-Jiang is a petty criminal pulling robberies with a group of three other guys. We enter the movie mid-jewelry heist, and unbeknownst to the criminals it is to be a pivotal moment in their lives. Liao is older than your typical juvenile delinquent, so Brotherhood felt like it could be the next step from that sub-genre of Hong Kong crime films. We can assume that Liao’s poor choices as a teenager led him to this moment, but as an adult the consequences are more lasting and serious. The twists and double crosses come fast and brutal in Brotherhood, and they eventually lead Liao to join the San He Tang triad. The triad is also experiencing a time of huge change, with its own share of brutal double crosses. The plot follows these two threads in fairly obvious ways, but as I mentioned, Brotherhood is always highly entertaining thanks to a couple of factors (namely the well-rounded cast, the harsh brutality of the violence, and the action choreographed by Yuen Woo-Ping and Yuen Cheung-Yan).

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Bruce Lee and I (1976)

Bruce Lee and I [李小龍與我] (1976)
AKA Bruce Lee: His Last Days, His Last Nights, Bruce Lee: His Last Days, I Love You, Bruce Lee

Starring Betty Ting Pei, Danny Lee, Wang Sha, Tony Liu Chun-Ku, James Nam Gung-Fan, Wong Man, Ku Wen-Chung, Lee Pang-Fei, Lee Sau-Kei, Wong San, Gam Dai, Pang Pang, Ling Hon, Kong San

Directed by John Law Ma

Expectations: Low.


The Bruceploitation genre is one that consistently surprises, offering as many unique ideas as it does scenes of “Bruce picking his successor” or footage from his funeral. I had heard that Bruce Lee and I was an especially exploitative look at Bruce Lee’s final days through the eyes of his mistress Betty Ting Pei (who plays herself here). In part, this is true; the film opens with a wild sex scene between Bruce and Betty, with Bruce taking regular breaks to smoke pot or take pills from the bedside table. It’s a whirlwind of bodies and drugs, and in the movie it directly leads to his death. Later the film contradicts this — and perhaps that’s the point — but it’s by far the most memorable thing about the movie, so viewers are likely to come away remembering the very thing the film was trying to dispute.

Bruce Lee’s death was sudden and the exact cause of death has always been up for debate. It was officially ruled a “death by misadventure,” which only led to further speculation on the part of his adoring and growing fan base. Bruce died at the home of Betty Ting Pei, which was initially covered up by Lee’s family who wanted to preserve Bruce’s image in the media. Did Bruce and Betty have an affair or were they just good friends? Who knows, and more importantly does it even matter? Despite the salacious opening that basically fuels the legend, Betty Ting Pei’s participation in this film suggests that it’s an attempt to tell her side of the story so we might understand the bond and friendship that she shared with Bruce Lee.

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The Protectors (1975)

The Protectors [鏢旗飛揚] (1975)

Starring Lo Lieh, Chang Pei-Shan, Wang Hsieh, Yeung Oi-Wa, Lee Sau-Kei, Chan Shen, Dean Shek Tin, Wong Ching, Chan Chuen, Wong Ching-Ho, Wu Chi-Chin

Directed by Wu Ma

Expectations: Moderate.


As with quite a few of the films Shaw released in 1975, The Protectors was shot in 1971 and held back from release. The reasoning for this is up for anyone’s best guess, especially since it tells a complete, satisfying story with vibrant characters despite only running 62 minutes. Instead of making random speculations, I should focus on what’s here, and besides, The Protectors actually benefits from the extreme, barely feature-length brevity. It cooks the film down to its bare essentials, and since it’s a solid piece of work, it excels at entertaining in a way that only a good Shaw Brothers wuxia can.

The Eagle Escorts are known throughout the land as the security bureau to hire if you want to be sure your gold or silver arrives safely at its destination. The founder is aged and confined to his chair, but the company continues to thrive thanks to the skilled swords of Ling Xiao (Lo Lieh) and Guan Wang Long (Chang Pei-Shan). After another successful mission (that left tons of bandits dead on the trail), Ling and Guan return to headquarters. At the gate, welcoming them home, is Fang Yan Er (Yeung Oi-Wa), the object of Guan’s affection. She does not reciprocate these feelings, though, instead she is kind of infatuated with Ling. From his reaction, this is not the first time Guan has felt jilted, and this resentment is near the point of explosion.

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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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The Flying Guillotine (1975)

The Flying Guillotine [血滴子] (1975)

Starring Chen Kuan-Tai, Ku Feng, Wai Wang, Kong Yeung, Liu Wu-Chi, Ai Ti, Wong Yu, Lam Wai-Tiu, Norman Chu Siu-Keung, Ricky Hui Koon-Ying, Liu Wai, Lee Sau-Kei, Lee Pang-Fei, Man Man, Wu Chi-Chin, Lei Lung, Lin Wen-Wei, Wai Pak

Directed by Ho Meng-Hua

Expectations: High. Flying Guillotines!


Every one is familiar with the Jimmy Wang Yu classic Master of the Flying Guillotine, but before that film cemented itself into kung fu history, there was Ho Meng-Hua’s The Flying Guillotine. It was Ho’s film that introduced the weapon to the modern martial arts film, and by nature of its story, it also serves as an origin story for the weapon. The flying guillotine was a real weapon used during the Qing Dynasty under the rule of the Yongzheng Emperor (1722–1735). This is roughly the same timeframe that Chang Cheh’s Shaolin Cycle films inhabit, although no one knows exactly when the burning of the Shaolin Temple occurred (and there are multiple conflicting stories of various Shaolin temples burning, too!). Anyway, the flying guillotine was apparently a real thing, as crazy as that sounds.

The Flying Guillotine begins in the chamber of the emperor (Kong Yeung), who finds himself desiring a pair of advisors killed off without a lot of hullabaloo. He gives this task to Chief Xin Kang (Ku Feng), who sets about devising a way to assassinate the men quickly and accurately from such a range that no one can identify the killer. While walking down the street and contemplating the job, Xin Kang takes special interest in a man performing with a Diabolo (a Chinese Yo-Yo consisting of a wooden object spun and thrown with a rope). Inspiration strikes and the flying guillotine is born! The emperor loves the weapon so much that he then asks Xin Kang to form a 12-person strike team proficient in the usage of the flying guillotine.

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