Chinatown Kid (1977)

Chinatown Kid [唐人街小子] (1977)
AKA Chinatown Kung Fu

Starring Alexander Fu Sheng, Sun Chien, Phillip Kwok Chun-Fung, Lo Meng, Jenny Tseng, Shirley Yu Sha-Li, Siu Yam-Yam, Johnny Wang Lung-Wei, Yeung Chi-Hing, Wong Ching-Ho, Lo Dik, Chiang Nan, Yue Wing, Wang Han-Chen, Ku Kuan-Chung, Teresa Ha Ping, Kara Hui, Tsai Hung, Wong Lik, Chiang Sheng, Dick Wei, Wang Ching-Liang, Jamie Luk Kim-Ming, Lu Feng, Chin Chun

Directed by Chang Cheh

Expectations: Interested to finally see the longer cut.


Chinatown Kid is a great Chang Cheh film with a strong following, but it’s one of the few films that had a restoration tarnish its legacy. The story goes that when Celestial went to their Shaw archives to remaster Chinatown Kid, the only print they found was an alternate version that was much shorter, featuring re-shot scenes and a unique ending. This was back in the early 2000s, so at this point, nearly 20 years later, it’s probably safe to say that this shorter version is the only one that will ever be officially released by Celestial. It’s unfortunate because it’s almost assuredly not Chang Cheh’s original cut, but it is better than nothing. For this review, I watched the film twice: once with Celestial’s shorter version (which I’ve seen before), and once with the Venomsfan custom edit that combines a full-length VHS with a couple of extra scenes only found in the Celestial cut.

The story remains fairly constant across the two versions. Tang Dong (Alexander Fu Sheng) is an illegal immigrant who has just arrived in Hong Kong to help his aging grandpa. Finding a job is a struggle without a Hong Kong ID card, but Tang Dong is resourceful, street smart, and willing to work hard to make ends meet. He is largely driven by a materialistic desire to have cool stuff (like a digital watch), but he’s a nice guy at heart. Meanwhile in Taiwan, Yang Jian Wen (Sun Chien, in his debut role) has just returned home from two years service in the army. He shares Tang Dong’s willingness to work hard for his goals, but his family isn’t poor, and he is more book smart and responsible. Both characters end up in San Francisco by very different means (one studying abroad, the other running from the law), and they quickly befriend one another while working at a restaurant.

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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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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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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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Big Bad Sis (1976)

Big Bad Sis [沙膽英] (1976)

Starring Chen Ping, Wong Chung, Chen Kuan-Tai, Chong Lee, Siu Yam-Yam, Ku Kuan-Chung, Wang Hsieh, Queenie Kong Hoh-Yan, Kong Oh-Oi, Daan Fung, Yeung Chi-Hing, Chiang Nan, Teresa Ha Ping, Wong Ching-Ho, Shum Lo, Chan Lap-Ban, Kong San, Wong Jing-Jing, Mak Wa-Mei

Directed by Sun Chung

Expectations: Excited to see another Sun Chung movie.


The Shaw Brothers catalog boasts many female-led action films, but rarely do they feel as actively feminist as Sun Chung’s Big Bad Sis. Themes of female empowerment and sisterhood are front and center throughout, elevating the film beyond its exploitation and action roots. Don’t worry, though, this is quite far from an Oscar-bait message film; Big Bad Sis gets its point across while being relentlessly entertaining. Unfortunately, it’s not as potent as it could’ve been — an incredibly overlong, gratuitous sex scene mars the film’s mid-section — but fans of Chen Ping and Shaw Brothers crime films of the era should find a lot to enjoy here.

Big Bad Sis is centered around Ah Ying (Chen Ping), the Big Bad Sis of the title. She works alongside many other women in a textile factory, but she is much more than a co-worker. The film begins when a new hire, Ah Fong (Chong Lee), is assaulted in the bathroom by a group of thuggish co-workers. Sai Chu (Siu Yam-Yam) senses that something is wrong and checks on Ah Fong. She tries her best to overcome the group of abusive women, but she is no match for them. By this time, the situation has attracted more attention, and Ah Ying steps in to break it up. Her fists and strong spirit are formidable, and in teaching the bullies a lesson, she gains the friendship of Ah Fong and Sai Chu in the process. Ah Ying is a woman who has the power to stand up to oppression in all its forms, and in helping her co-workers she finds a new purpose. She isn’t a trained martial artist, but she begins to teach Ah Fong and Sai Chu self-defense tactics.

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Emperor Chien Lung (1976)

Emperor Chien Lung [乾隆皇奇遇記] (1976)

Starring Lau Wing, Wong Yu, Tin Ching, Shut Chung-Tin, Shum Lo, Chiang Nan, Cheng Miu, Kong Yeung, Lam Fung, Teresa Ha Ping, Chan Shen, Cheng Kwun-Min, Shih Ping-Ping, Mi Lan, Lun Ga-Chun, Cheung Chi-Hung, Wang Han-Chen, Pang Pang, Lee Pang-Fei, Wong Ching-Ho, Chu Siu-Boh, Ching Si

Directed by Wong Fung

Expectations: I don’t know what to expect, honestly.


I added Emperor Chien Lung to my chronological lineup of Shaw Brothers films for a few reasons. For one, I knew it had some limited martial arts content, and that it starred Lau Wing and Wong Yu. Secondly, it was the top grossing Shaw Brothers film of 1976 and it spawned multiple sequels (which might have more martial content than this one). It was also directed by Wong Fung, who intrigued me with his film Rivals of Kung Fu and his legacy with the original Wong Fei-Hung series starring Kwan Tak-Hing. Thankfully, my curiosity was well-placed, and Emperor Chien Lung is a fantastically fun and well-crafted film.

Emperor Chien Lung is absolutely sick and tired of the sheltered life of an emperor. He is fed the same foods and dressed in the same clothes every day, and literally every aspect of his life is governed by tradition and routine. One day, he hears a tale of how Emperor Tang Ming-Huang disguised himself as a commoner and mingled amongst his people. Chien Lung decides to do this as well, and his adventures outside the palace are what makes up the bulk of the film. It bears an anthology feel, with each tale wrapped up tight before proceeded ahead with the next one. Chien Lung learns things along the way, and he even picks up a sidekick, Chau Yi Qing (Wong Yu), but nearly everything else is self-contained within each story.

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