Pursuit of Vengeance (1977)

Pursuit of Vengeance [明月刀雪夜殲仇] (1977)
AKA Moonlight Blade: Vengeance on a Snowy Night (literal translation of Chinese title)

Starring Ti Lung, Lau Wing, Lo Lieh, Paul Chang Chung, Derek Yee, Shih Szu, Wai Wang, Ku Kuan-Chung, Cheng Miu, Yeung Chi-Hing, Ou-Yang Sha-Fei, Norman Chu Siu-Keung, Chen Ping, Lam Fai-Wong, Fan Mei-Sheng, Wa Lun, Chan Shen, Ngaai Fei, Yue Wing, Liu Wai, Stephan Yip Tin-Hang, Keung Hon, Wong Ching-Ho, Shum Lo, Bruce Tong Yim-Chaan, Jamie Luk Kim-Ming, Mama Hung

Directed by Chor Yuen

Expectations: High. Can Chor Yuen go five for five in 1977?


I expected to enjoy Pursuit of Vengeance, but the film surprised me and outdid every expectation I had for it. In researching the previous Chor Yuen films based on Gu Long’s Little Li Flying Dagger series (The Sentimental Swordsman & The Magic Blade), I read a basic plot synopsis of the novel that Pursuit of Vengeance is based on, Bordertown Prodigal (邊城浪子, Biancheng Langzi). It mentioned that the main characters, Ye Kai (Lau Wing) and Fu Hong-Xue (Ti Lung), both had love interests, and that the events of the book are what leads Fu to becoming the disillusioned, hard-boiled swordsman we see in The Magic Blade. So naturally I expected some sort of typical romantic storyline within the dangerous Chor Yuen martial world. The film is far removed from this, though, with nary a single love interest to be found. The film definitely does not need them, but because I was expecting it to figure in somewhere along the line, I spent the film looking for the seeds of this non-existent sub-plot and wound up admiring how cleverly plotted and perfectly paced the film is without it.

Like any good wuxia, Pursuit of Vengeance is full of twists that shouldn’t be revealed in wholesale by the likes of me. The Wan Ma clan is inviting swordsmen to their school, and they refuse to take no for an answer. When Fu Hong-Xue says he will not visit, the emissary for the clan says that he will remain there in the road, waiting for Fu’s acceptance, as long as it takes. Of course, this can’t be an innocent gesture, and Fu is too savvy to agree. Ye Kai is also invited, as are others, and it becomes clear that a specific group of people are being pulled together by the Wan Ma clan. What is their purpose? Who is in pursuit of vengeance? You’ll have to watch the movie! It’s too good for me to delve any deeper into the story, suffice it to say that many things are not what they seem and it will take our heroes’ every wit and sense to survive.

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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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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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The Brave Archer (1977)

The Brave Archer [射鵰英雄傳] (1977)
AKA Shaolin Archers, Kung Fu Warlords

Starring Alexander Fu Sheng, Tien Niu, Phillip Kwok Chun-Fung, Ku Feng, Ku Kuan-Chung, Johnny Wang Lung-Wei, Danny Lee, Li Yi-Min, Dick Wei, Lau Wai-Ling, Bruce Tong Yim-Chaan, Chu Jing, Yue Wing, Chan Shen, Fan Mei-Sheng, Suen Shu-Pau, Tsai Hung, Lam Fai-Wong, Lo Meng, Jamie Luk Kim-Ming, Lu Feng, Chiu Chung-Hing, Chow Git, Kara Hui, Yu Hoi-Lun, Wang Ching-Liang, Stephan Yip Tin-Hang, Lee Siu-Wah

Directed by Chang Cheh

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


Sometime during the Jin-Song wars, two heroes of the Song dynasty are living with their wives in a quiet corner of the world. They’ve sworn their newborn children to be blood brothers, and when a wandering Taoist visits, he names the boys — Yang Kang & Guo Jing — and inscribes their names onto small swords. Unfortunately, this happy opening quickly turns sour when Jin soldiers attack and kidnap Yang Kang and his mother. In the wake of the skirmish, the Weird Seven, a group of powerful martial artists, take in Guo Jing and his mother, agreeing to raise the boy as their own. The Taoist promises to monitor and train Yang Kang, and in 18 years’ time, they will all meet up to see which boy possesses the superior kung fu. It’s a great setup for the film, but don’t get too attached. It does not resolve in this film at all, but that doesn’t mean that you can’t have fun on the journey that The Brave Archer provides. This is a different sort of wuxia, unique from Chang’s previous genre-defining work or Chor Yuen’s genre-redefining films.

I’ve heard a lot about The Brave Archer over the years; everything from “It’s great” to “It’s awful,” and everything in between. I arrived to the movie with my own baggage, as well. Knowing that this was Chang Cheh’s first film back in Hong Kong after the artistic freedom he experienced in Taiwan, and that in his memoir he states, “the five years of my second spell at Shaws warrant little mention,” it’s hard not to come into The Brave Archer with the idea that Chang was frustrated with the situation and the state of the Hong Kong industry. Having been the leader of the charge in the action genre for so many years, to now be relinquishing that title to Lau Kar-Leung and Chor Yuen (and those not at Shaw like Sammo Hung, and later Yuen Woo-Ping and Jackie Chan), make it a distinct possibility that he was coerced into making a wuxia — a genre he felt was tired and had reached its pinnacle with Golden Swallow — to satisfy the fanbase revitalized by Chor Yuen’s films. I have a feeling that’s only partially true, though. Chang also talks in his memoir of his great friendship with Jin Yong, so I can imagine Chang choosing the project and feeling a personal responsibility to do the work of his friend justice.

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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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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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