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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Cleopatra Jones and the Casino of Gold (1975)

Cleopatra Jones and the Casino of Gold [女金剛鬥狂龍女] (1975)

Starring Tamara Dobson, Stella Stevens, Tanny Tien Ni, Norman Fell, Albert Popwell, Caro Kenyatta, Chan Shen, John Cheung Ng-Long, Christopher Hunt, Lin Chen-Chi, Lau Luk-Wah, Eddy Donno, Bobby Canavarro

Directed by Chuck Bail

Expectations: Moderate.


Like just about every American movie set in Hong Kong, Cleopatra Jones and the Casino of Gold opens on a busy harbor full of junks and other ramshackle boats, scored with overtly “Oriental” music. The rest of the movie is also filled with all kinds of cliches and obvious story beats. Despite this, the movie rises above its trappings and manages to be quite an entertaining film. It exists in a gray area where the traditional American action film intersects with the Blaxploitation and kung fu genres, but only in the film’s incredible, lengthy finale does it ever really embrace any of those roots in a completely satisfying way. And it might just be my love of Hong Kong talking, but Cleopatra Jones and the Casino of Gold is better than the original, which I watched last week in preparation for this review.

The film’s story is probably its weakest element. Matthew Johnson (Albert Popwell) and Melvin Johnson (Caro Kenyatta) attempt to buy some product from drug lord Soo Da Chen (Chan Shen). Chen wants to do the deal behind the back of the big, bad Dragon Lady (Stella Stevens), who controls the illicit trade in the region, in a bid to undermine her power and potentially take over. Dragon Lady is too smart to let this happen, so she assaults the boat where the deal is happening, taking Matthew and Melvin hostage. Enter Cleopatra Jones, sent to Hong Kong to rescue them, and maybe take down the drug ring in the process. I honestly don’t remember if that was part of her assignment. In any case, that’s the whole plot; the rest of the movie just continues down that path, dealing with some obstacles that arise as Cleopatra makes her way through the Hong Kong underworld.

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