Judgement of an Assassin (1977)

Judgement of an Assassin [決殺令] (1977)

Starring David Chiang, Chung Wah, Ching Li, Michael Chan Wai-Man, Wai Wang, Ku Feng, Wang Lai, Cheng Miu, Lau Wai-Ling, Ngaai Fei, Ku Wen-Chung, Ku Kuan-Chung, Bruce Tong Yim-Chaan, Chan Shen, Yeung Chi-Hing, Ou-Yang Sha-Fei

Directed by Sun Chung

Expectations: High. I’ve wanted to see this one for a while.


Judgement of an Assassin sees director Sun Chung re-inserting himself into the newly revitalized wuxia genre. He made one of my all-time favorite Shaw wuxias, 1972’s The Devil’s Mirror, but his filmography is devoid of wuxias up until Judgement of an Assassin. To say that I was eagerly anticipating this film is underselling it some, especially because the next year Sun went on to make The Avenging Eagle, a film I happened to catch in the theater some years ago and have been in love with ever since. Judgement of an Assassin had a lot to live up to, and it absolutely stood up to the challenge. It is a wuxia that feels unique amidst the vast Shaw catalog up to this point, and it is sort of a middle ground between the brooding darkness of Chor Yuen and the comic book sensibilities Chang Cheh brought to life in The Brave Archer. It is also a return to the general fun of early Shaw wuxias, but with all the excitement and thrills of 1977 choreography. Like previous Sun Chung films, Judgement of an Assassin has immediately endeared itself to me, and I see it becoming a favorite I’ll return to often.

Masked assassins raid the home of the Golden Axe Clan, but when the final blow is dealt to the clan leader, the assassin boldly states his name for the record. Surely, this has to be a setup, right? Who would do that? The named man is arrested for this crime and placed inside a spiked coffin designed to limit the prisoner’s movement and torture him simultaneously. He is taken to the house of Madam Fa (Wang Lai), who will preside over the grand hearing to determine his fate. The entire martial world converges on the trial, with some members utilizing the opportunity to jockey for power, while others attempt to uncover the truth of the murder on their own. Like any good wuxia, Judgement of an Assassin is filled with many colorful characters, but here the main character is actually the martial world itself. It’s a great choice to tell this particular story, though I can see some not connecting with it if you’re looking for a more conventional film.

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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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The Adventures of Emperor Chien Lung (1977)

The Adventures of Emperor Chien Lung [乾隆下江南] (1977)

Starring Lau Wing, Wong Yu, Lee Kwan, Chiang Nan, Cheng Miu, Wang Han-Chen, Yueh Hua, Yeung Chi-Hing, Chen Ping, Kam Ting-Hsun, Wang Sha, Aai Dung-Gwa, San Shu-Wa, Wong Ching-Ho, Chan Shen, Ng Hong-Sang

Directed by Li Han-Hsiang

Expectations: High. I really liked the first film.


The first film in this series, Emperor Chien Lung, introduced us to an emperor bored with his rigid, dependable life in the Imperial palace. He longed for adventure and the knowledge of how his subjects lived, so he disguised himself and embarked on a journey across his lands. Along the way, he helped those in need and stopped more than a few crimes perpetrated by officials in his name. It’s a nice setup for an episodic film, and the first film left me hungry for more adventures with Emperor Chien Lung. The sequel delivers (although the first film actually tells more adventurous tales), but it does so in many unexpected ways that build the character in different directions. The Adventures of Emperor Chien Lung was the first sequel (of four) to Shaw’s highest grossing film of 1976, and I’m in for some real fun if the others are anywhere near as good as this one.

Taking over for director Wong Fung is one of Shaw’s most well-respected directors, Li Han-Hsiang. He directed all the sequels, and judging from his work on The Adventures of Emperor Chien Lung it’s possible that he saw the first film as more of a test run for his series, and not an actual “first film” that he was making follow-ups to. The Adventures of Emperor Chien Lung begins before Chien Lung is born, showing us how his father, Prince Yong (Yueh Hua), met his mother, Stable Maid Li Jia (Chen Ping), and eventually how Chien Lung became the favored grandson of the long-reigning Kangxi Emperor (Yeung Chi-Hing). The star of the first film, Lau Wing, doesn’t even appear until over 20 minutes into the film! Chien Lung’s sidekick, Zhou Ri-Qing (Wong Yu), fares even worse, only appearing in the final act of the film. To be honest, I can’t recall exactly how they met in the first film, but here we again see them meet for the first time. Things like this are what leads me to believe the Li wasn’t looking back on Wong’s film when making his.

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Jade Tiger (1977)

Jade Tiger [白玉老虎] (1977)

Starring Ti Lung, Yueh Hua, Ku Feng, Lily Li Li-Li, Fan Mei-Sheng, Lo Lieh, Derek Yee, Shih Szu, Chiang Nan, Hsiao Yao, Ng Hong-Sang, Shut Chung-Tin, Yeung Chi-Hing, Shum Lo, Ngaai Fei, Ku Kuan-Chung, Chan Shen, Johnny Wang Lung-Wei, Wang Hsieh, Norman Chu Siu-Keung, Cheng Miu, Fanny Leung Maan-Yee

Directed by Chor Yuen

Expectations: Pretty high.


For Chor Yuen’s second film of 1977, he once again returned to the fertile literary work of Gu Long. The film adapts a standalone novel of the same Chinese title, 白玉老虎, often translated as The White Jade Tiger. Where this film differs is that Gu Long himself co-wrote the screenplay, and while he wrote nearly 30 movies in his career, this was his only direct collaboration with Chor Yuen. Jade Tiger was Chor’s favorite of his Gu Long adaptations, citing its focus on sacrifice and how it shapes the lead character, Zhao Wuji (Ti Lung), over the course of the film. Perhaps the clear, emotional resonance of the themes is a product of this collaboration; who better knows the ins and outs of a work than its author? Whatever the case may have been, Jade Tiger is a largely successful film that is sure to please fans of wuxia cinema.

It is Zhao Wuji’s wedding day, but instead of getting ready for the occasion, he’s on a rocky outcropping dueling Dugu Sheng (Norman Chu). Dugu offers to fight on another day so that Zhao won’t risk dying on his wedding day, but Zhao would rather die a bachelor and leave no troubled widow behind. Zhao also respects the rules of the martial world implicitly, so honoring the fight was never a choice, but it is these deeply held tenets that will ultimately challenge Zhao to the most difficult struggle of his life. The Tang clan has always been at odds with the Zhao’s, and when they do not receive an invitation to Wuji’s wedding, they don’t take it as a simple slight. This act of disrespect is a catalyst to the film’s tumultuous plot, bringing the long-simmering Zhao/Tang fued to its boiling point.

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Deadly Angels (1977)

Deadly Angels [俏探女嬌娃] (1977)
AKA Bod Squad, Women Detectives

Starring Lau Wing, Nancy Yen Nan-See, Siu Yam-Yam, Evelyn Kraft, Dana, James Nam Gung-Fan, Kim Jeong-Nan, Shut Chung-Tin, Si Wai, Cheng Miu, Lee Hoi-Sang, Chin Chun, Gam Biu, Fung Hak-On, Chan Shen, Wu Ma

Directed by Pao Hsueh-Li

Expectations: Low, but part of that is the print quality.


In 1980s Hong Kong cinema, the “Girls with Guns” sub-genre of action was very popular. I’ve seen Deadly Angels referred to as the progenitor of the genre, and perhaps that was the case, but there were definitely similar films made prior to this (1974’s Virgins of the Seven Seas is the one that immediately comes to mind). The film’s success is also up for debate, as the Movieworld box office site lists it as the top Hong Kong film of the year, while the HK Urban Council’s 1984 book A Study of Hong Kong Cinema in the Seventies (1970-1979) doesn’t show it at all in their Top 10 Box Office listing. I have previously found slight discrepancies with Movieworld’s site, and the film’s seven-day run would correspond more accurately with a less successful film, so I’m leaning heavily towards the HK Urban Council. Whether it was successful or not, Deadly Angels has fallen into obscurity and is only available in low-quality VHS prints. I’m sure the film would play better in its original language, remastered and in its intended ratio, but the film was a co-production with the South Korean company Woosung Productions, and if I’m not mistaken Celestial hasn’t remastered any of Shaw’s major co-productions (due to licensing issues, I’m guessing).

Deadly Angels opens with a woman walking into a darkened room. A man asks, “Did you bring the stuff from Hong Kong?” She answers to the affirmative, the man walks out of the shadows and violently rips off her bra. Small packets containing diamonds are ripped out of the bra’s lining, and before the woman can leave the room, a throwing knife plunges into her neck. To combat such a violent and ruthless criminal organization, the police must come up with something special. The gang only uses showgirls to smuggle their stolen diamonds out of the country, so the team must be composed of beautiful women. Good thing the Hong Kong police has Evelyn Kraft on its force, as she has assembled a “special action squad” of three foxy females ready to take on organized crime. I didn’t catch their character names, but they are played by Nancy Yen Nan-See, Siu Yam-Yam, and Dana. Each one carries a unique weapon in addition to their firearm and martial arts expertise: a small spiked ball on a long chain, a mini-crossbow, and a slingshot disguised as a hair tie (with explosive-shot earrings)! All this adds up to a James Bond meets Charlie’s Angels meets the Shaw studio sort of thing, and it’s pretty darn entertaining at its heights.

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Clans of Intrigue (1977)

Clans of Intrigue [楚留香] (1977)

Starring Ti Lung, Yueh Hua, Li Ching, Nora Miao, Betty Pei Ti, Ling Yun, Tin Ching, Nancy Yen Nan-See, Chan Sze-Kai, Lau Wai-Ling, Chong Lee, Ku Feng, Ku Wen-Chung, Cheng Miu, Norman Chu Siu-Keung, Ku Kuan-Chung, Chan Shen, Teresa Ha Ping, Yeung Chi-Hing

Directed by Chor Yuen

Expectations: Super high.


Clans of Intrigue was Chor Yuen’s first of five films released in 1977, and if it is anything to go by, I am in for some real treats. While Clans of Intrigue isn’t the greatest action film, it’s one of the most engrossing and well-plotted wuxias I’ve seen. It’s as much of a mystery film as it is a wuxia, and as a fan of both genres this was a dream come true. I’ve always heard that Chor Yuen was an influential director in the wuxia genre, but after seeing this run of Killer Clans, The Magic Blade, The Web of Death and Clans of Intrigue, I have a newfound appreciation for him. Within these four films he laid the basic groundwork for the wuxias of the ’80s, redefining the genre beyond the precedent set earlier by King Hu and Chang Cheh. Chor Yuen is the link between the two eras, and his work is nothing short of brilliant.

Clans of Intrigue begins with a string of three mysterious murders. Someone clad in red and wearing a mask assassinates the masters of three martial arts clans by using the ultra-poison Magic Water. Meanwhile, the Thief Master Chu Liu Hsiang (Ti Lung) is hosting a meeting aboard his boat. Nan Gong Lin (Tin Ching), the head of Beggar’s Gang, and the Ingenious Monk Wu Hua (Yueh Hua) are his guests, but mid-way through their meal, another arrives. Kung Nan Yen (Nora Miao) from Palace Magic Water has come to arrest Chu for stealing the Magic Water and killing the masters. She reasons that he must be the one that did it, because only the Thief Master could have gotten inside the palace and taken the Magic Water back out with him. He assures her that he is innocent, and she gives him one month to find out who really did it, otherwise they will kill him. And just like that, the game is afoot!

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King Gambler (1976)

King Gambler [賭王大騙局] (1976)

Starring Chung Wah, Chen Kuan-Tai, Chen Ping, Shut Chung-Tin, Ou-Yang Sha-Fei, Wang Hsieh, Ku Feng, Fan Mei-Sheng, Teresa Ha Ping, Chui Ga-Lam, Wong Chung, A Mei-Na, Chan Mei-Hua, Liu Wu-Chi, Ma Chien-Tang, Chan Shen, Kong Yeung, Ku Wen-Chung, Terry Lau Wai-Yue, Ling Yun, Shum Lo, Yeung Chi-Hing, Cheng Miu, Wong Ching-Ho, Lau Luk-Wah

Directed by Cheng Kang

Expectations: Super excited to see more Cheng Kang… and it’s a gambling movie!


There are many gambling movies from all over the world, but the Hong Kong gambling film is a beast all its own. I am a huge fan of this sub-genre of Hong Kong cinema, and of the filmmaker most associated with it: Wong Jing. Over the course of my chronological Shaw Brothers series, I’ve covered a couple of early gambling films (The Casino, The Gambling Syndicate), but those films feel like extensions of the traditional action genre more than they resemble what the gambling genre evolved into. King Gambler, on the other hand, is right on the money when it comes to tone and style. The film was clearly an influence on Wong Jing, as both directors showcase similar ideas and sensibilities in how they portray gambling and the people involved in the games. As such, I really enjoyed Cheng Kang’s King Gambler. Apparently 1976 Hong Kong shared my enthusiasm, too, because the film made #9 at the yearly box office (with only a couple of Shaw films doing better that year).

King Gambler is a structurally interesting movie. It begins by introducing us to the Sha family and how their mastery in sleight of hand and other forms of trickery were passed down from one generation to another. We then see a short game of mahjong, in which one of the Sha family members (played by Shut Chung-Tin) beats the young Peng Tian Shi (Chen Kuan-Tai). The resentment of being so resoundingly beaten does not sit well with Peng, and when the film flashes forward many years, Peng is now a wealthy casino owner known as The Card Tyrant. He has not risen above his feelings surrounding the Sha family, though. Peng offers an elder Sha (Wang Hsieh) a job, but he refuses to use his superior hearing skills to cheat for Peng. Retaliation comes swift and brutal, leaving the elder Sha permanently blinded. This is merely the first few minutes of the film; the prologue. The majority of the movie concerns itself with the young members of the Sha family and how they deal with Peng in the wake of this offense.

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