Jumping Ash (1976)

Jumping Ash [跳灰] (1976)

Starring Josephine Siao Fong-Fong, Ga Lun, Michael Chan Wai-Man, Chan Sing, Nick Lam Wai-Kei, Lee Yin-Ping, Wu Fung, Lo Hoi-Pang, Lee Chi-Chung, Cheng Chi-Tun, Terry Lau Wai-Yue, Cheung Sek-Aau

Directed by Josephine Siao Fong-Fong & Po-Chih Leong

Expectations: Very interested. Don’t know what to expect, though.


Jumping Ash was a huge hit in its day, reaching #3 at the 1976 Hong Kong box office, but unfortunately I watched it faded, full-screen and dubbed. Hopefully it can be restored in the future and seen by fans in its original format, because in addition its success, Jumping Ash was also highly influential. It exhibited all the qualities of the Hong Kong New Wave, a few years before it really began in earnest. Some cite Jumping Ash as the first film of the New Wave, while others list it as a stylistic forerunner, but no matter what you call it, it’s a film that feels ahead of its time and far closer to what Hong Kong cinema would become than what it was in 1976. It’s hard to know from my position in 2018 America, but it also seems like it has its finger on the pulse of Hong Kong at the time, set in specific locations during May 1976 and then released just a few months later in August 1976.

Defining the style of the Hong Kong New Wave is a tricky thing to do. Like many film movements, it was something that happened organically and was only named and grouped together later on. Basically, the new crop of filmmakers in the late ’70s/early ’80s redefined what Hong Kong movies were, eventually taking over the industry from the fading studio-based model of Shaw Brothers. Location shooting and experimentation became the norm as this new generation of filmmakers put their artistic stamp on their films. Much of the previous generation thought of their work as nothing more than a job, so the emergence of singular talents like Tsui Hark, Ann Hui or Sammo Hung left a limitless impact on the industry. The films of this era firmly re-established Cantonese filmmaking as the dominant force of Hong Kong cinema, resulting in films that better reflected Hong Kong culture and society. It is also in this era where the genre-blending and multi-tone films took hold, bringing Hong Kong into what I consider its best and most fruitful period. This, too, is present in Jumping Ash, which deftly mixes drama, action and comedy on a moment’s whim.

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Master with Cracked Fingers (1979)

masterwithcrackedfingers_1Master with Cracked Fingers [刁手怪招] (1979)
AKA The Cub Tiger from Kwangtung, Little Tiger from Kwantung, Little Tiger of Canton, Snake Fist Fighter, Ten Fingers of Death, Marvellous Fists

Starring Jackie Chan, Simon Yuen Siu-Tin, Kwan Yung-Moon, Chiang Kam, Tien Feng, Shu Pei-Pei, Chen Hung-Lieh, Dean Shek Tin, Hon Gwok-Choi, Ma Chien-Tang, Kwan Chung, Tai San, Hui Gam, Tiu Yun-Ban, Cheung Sek-Aau

Directed by Gam Yam

Expectations: Curious.

On the general scale:
twostar

On the B-movie scale:
twohalfstar


Master with Cracked Fingers really has no place in the spotlight along with Jackie Chan’s proper films, but I thought it would be worth a look for a couple of reasons. It was a film always readily available during Jackie’s late-’90s period of high fame in the US, so there’s bound to be thousands of copies out there littering thrift store shelves. I also kicked off my Jackie Chan series with his first starring role, The Cub Tiger from Kwangtung, and since that’s the movie that’s getting cannibalized to make this one, I thought it would be an interesting endeavor to see how it was butchered, and perhaps if the added scenes made it better or worse. I enjoyed that film for what it was, but there was definitely room for improvement.

The changes made for Master with Cracked Fingers are interesting, and they are clearly made in the effort of transforming an early-’70s serious kung fu movie into a late-’70s kung fu comedy. In this way, the two films seen side by side are something of a quick and dirty history lesson on just how much the genre had changed over the eight years in-between the two releases. Now, instead of Jackie’s character merely practicing kung fu on his own or with his sister, he is trained by Simon Yuen himself! This is facilitated by a few added scenes at the beginning, with Jackie as a child of about eight or nine years old. Too poor to afford proper kung fu lessons, he enlists the help of an old beggar who promptly asks Jackie to meet him in the forest in the middle of the night. And what does he ask Jackie to do once he gets there? Take off all his clothes and jump into a burlap sack full of snakes and other scary critters, of course! Yikes!

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