The Sentimental Swordsman (1977)

The Sentimental Swordsman [多情劍客無情劍] (1977)
AKA Sword of Emotion

Starring Ti Lung, Ching Li, Derek Yee, Yueh Hua, Candice Yu On-On, Fan Mei-Sheng, Ku Feng, Norman Chu Siu-Keung, Ngaai Fei, Yuen Wah, Ku Wen-Chung, Cheng Miu, Yeung Chi-Hing, Ku Kuan-Chung, Chan Shen, Wang Sha, Shum Lo, Lee Sau-Kei, Fung Hak-On, Alan Chui Chung-San, Chiang Nan

Directed by Chor Yuen

Expectations: Been looking forward to this one for a while.


Partway through The Sentimental Swordsman, I thought about how it was Chor Yuen’s fourth film of 1977 (of five total). To craft one film of lasting appeal in a single year is a commendable feat, but to make at least four of them is truly incredible. I’ve written similar things about the high standards and prolific genius of Chang Cheh, but not until encountering this period of Chor Yuen’s output has any director come close to replicating Chang’s feat. The Sentimental Swordsman isn’t my favorite of Chor’s 1977 films — that honor still rests with Clans of Intrigue — but I do feel it’s the most well-crafted of the group, with Jade Tiger a close runner-up. They’re all made with a similarly high level of quality, though, allowing fans to endlessly debate which wuxia should be crowned leader of the Chor Yuen martial world.

The film opens with our hero, Li Xunhuan (Ti Lung), traveling by horseback across the snow-covered landscape, accompanied by his trusty servant Chuan Jia (Fan Mei-Sheng). They have lived peacefully outside the martial world for the past 10 years, but are returning upon hearing the Plum Blossom Bandit is back to his old tricks. Things get interesting when Li meets Ah Fei (Derek Yee), a wandering swordsman, and the two strike up a fast friendship. While these new friends dine at an inn, the feared swordsman duo of Black Snake (Alan Chui Chung-San) and White Snake (Fung Hak-On) attempt to rob another set of diners: a security bureau entourage transporting the Gold Threaded Vest, an item promising immunity from the Plum Blossom Bandit’s deadly darts. Ah Fei thwarts them and takes the vest, sending the martial world into a frenzy to identify the Plum Blossom Bandit and recover the vest.

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Death Duel (1977)

Death Duel [三少爺的劍] (1977)

Starring Derek Yee, Ling Yun, Candice Yu On-On, Ku Feng, Ou-Yang Sha-Fei, Chen Ping, David Chiang, Norman Chu Siu-Keung, Ku Kuan-Chung, Ngaai Fei, Gam Lau, Fan Mei-Sheng, Teresa Ha Ping, Yeung Chi-Hing, Lam Fai-Wong, Liu Wai, Cheng Miu, Shum Lo, Yueh Hua, Ti Lung, Lo Lieh, Nancy Yen Nan-See, Johnny Wang Lung-Wei, Chan Shen, Yuen Wah

Directed by Chor Yuen

Expectations: High. I like these Chor Yuen wuxias.


I’m not exactly sure what I expected going into Death Duel, but I felt off-kilter throughout most of the movie. I assumed it would be another in the lineup of great Chor Yuen adaptations from Gu Long novels, but I found it to be a somewhat poorly structured tale, and the character cameos from Chor’s previous films really threw me off. I’m not sure my experience is entirely the movie’s fault, though, as Death Duel is never boring or anything other than completely entertaining and fun; it all just felt sort of odd. I have a sneaking suspicion that like The Magic Blade, I’ll eventually re-watch the movie, love it, and wonder what I was thinking when I wrote this. In any case, Death Duel is both a great Chor Yuen film that delivers similar thrills to his previous mid-’70s wuxias, and a film in need of some focus.

Death Duel starts stunningly, though. Based on a relatively new story — serialized from June 1975 to March 1976, sharing the film’s Chinese title 三少爺的劍 (which translates to Sword of the Third Young Master) — the tale begins with Yen Shih-San (Ling Yun), as he arrives in a copse of trees at sunset. He’s called a meeting of elite swordsmen to test his martial skills, challenging the entire group at once and boasting that he will kill them all within 13 sword strikes. With this completed, only one man stands in Yen’s way to the top of the martial world: The 3rd Master, also known as the God of Swords. The 3rd Master is said to have an invincible sword technique, and Yen hopes to test his own invincible technique against it in a bid for the spot at the top of the ever-moving, tumultuous martial world. But when Yen tracks down the 3rd Master, he only finds his coffin. For all intents and purposes, Yen is now the greatest swordsman alive, but without challenging the reigning champion, what is this by-default glory worth?

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Rob-B-Hood (2006)

Rob-B-Hood [寶貝計劃] (2006)
AKA Robin-B-Hood, Project BB

Starring Jackie Chan, Louis Koo, Michael Hui, Teresa Carpio, Yuen Biao, Gao Yuan-Yuan, Charlene Choi Cheuk-Yin, Terence Yin Chi-Wai, Conroy Chan Chi-Chung, Andrew Lin, Matthew Medvedev, Ku Feng, Ken Wong Hop-Hey, Ken Lo, Hayama Hiro, Cherrie Ying Choi-Yi, Candice Yu On-On, Chen Bao-Guo, Nicholas Tse, Daniel Wu, He Jun, Ng Kong

Directed by Benny Chan

Expectations: Kinda high. I’ve come to expect good things from Benny Chan.


Rob-B-Hood is kind of a weird movie. Contrasting the modern realism in Benny Chan and Jackie’s previous collaboration, New Police Story, Rob-B-Hood feels like an attempt to revive an ’80s style focused on providing wild entertainment over believability. Apparently the film was originally intended to finally reunite Jackie, Sammo and Yuen Biao, too, lending further credence to this idea. But while the criminal character dynamics between Jackie, Louis Koo and Michael Hui recall early ’80s movies like Wheels on Meals, Rob-B-Hood owes an even bigger debt to the Aces Go Places series. The obvious connection is the baby who is often in harm’s way, but elements of that series’s James Bond riffs also find their way into Rob-B-Hood.

Thongs (Jackie Chan) and Octopus (Louis Koo) are master safecrackers, and we meet them in a hospital’s pharmacy. They are stealing high-priced drugs while their leader, Landlord (Michael Hui), waits in the getaway van outside. Crosscut with this is the birth of a child, which seems insignificant at first but wouldn’t you know it, they showed this birth to us for a reason! Imagine that. Mid-way through the criminals’ escape attempt, a disgruntled and mentally unstable ex-boyfriend of the baby’s mother abducts the kid. At first, he even tries to drag the mother along for the ride, still in her hospital bed. This fiasco gets the heat off of Thongs and Octopus, but as luck would have it, when the crazy ex-boyfriend loses control of the baby and it falls down a couple of stories in the hospital’s open lobby, Thongs is able to jump off the escalator, save the kid’s life, and return him to his mother. Thongs and Octopus are now free to leave the scene of their crime, but their story with this infant is far from over.

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