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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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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To Kill a Jaguar (1977)

To Kill a Jaguar [絕不低頭] (1977)

Starring Chung Wah, Lau Wing, Nora Miao, Ling Yun, Wai Wang, Fan Mei-Sheng, Chan Shen, Hao Li-Jen, Siu Yam-Yam, Johnny Wang Lung-Wei, Lam Fai-Wong, Keung Hon, Lee Hang, Jamie Luk Kim-Ming, Gam Lau, Mak Wa-Mei, Alan Chan Kwok-Kuen, Wong Ching-Ho, Ting Lai-Na, Sai Gwa-Pau

Directed by Hua Shan

Expectations: Moderate. Don’t know what to expect, really.


I had never heard of To Kill a Jaguar until I compiled my chronological list of Shaw Brothers martial arts films, so I didn’t quite know what I was getting myself into. This is true of many Shaw films that I’ve reviewed, but in this particular case I feel that To Kill a Jaguar should be spotlighted as something unique and worthwhile. To Kill a Jaguar is every bit a ’70s Shaw picture, but it flirts with the multi-genre trade that would come to define Hong Kong cinema in the ’80s and ’90s, and perhaps most interestingly it is an adaptation of a non-wuxia Gu Long novel made amidst the sea of fan-favorite Gu Long adaptations from director Chor Yuen. I’m sure To Kill a Jaguar was greenlit due to the success of Chor’s films, and so then it should come as no surprise that the film is more similar to them than you might think at first glance.

Based on the 1973 Gu Long novel, Never Bow Down (絕不低頭, also the film’s Chinese title), our story begins with Bobo Kam (Nora Miao) arriving in Republic-era Shanghai in search of her father. It is a dangerous place where street gangs battle with knives and hatchets, and she stumbles into one such battle. One man stands out from the crowd with distinctive sideburns and a fistful of keys as his weapon; Jaguar (Chung Wah) is clearly not your average street thug. After the fight subsides, Bobo and Jaguar realize this isn’t their first time meeting. Jaguar was once known to Bobo as “Silly Kid,” a snot-nosed fat boy who played with Bobo and a mutual friend, He Lie, way back when in Stone Village. Things have definitely changed over the years for Bobo and Jaguar, and if you know anything about Gu Long stories, you know these characters are in for a lot more, as well.

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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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Magnificent Wanderers (1977)

Magnificent Wanderers [江湖漢子] (1977)
AKA Magnificent Kung Fu Warriors

Starring David Chiang, Alexander Fu Sheng, Chi Kuan-Chun, Li Yi-Min, Shan Mao, Yeung Chung-Man, Lee Ying, Lam Fai-Wong, Han Chiang, Wong Cheong-Chi, Yu Heng, Cho Boot-Lam, Chiang Sheng, Phillip Kwok Chun-Fung, Lu Feng

Directed by Chang Cheh (with Wu Ma)

Expectations: Moderate.


Ever the innovator, Chang Cheh’s final film under the Chang’s Co. banner was new ground for the director. Magnificent Wanderers brings together “Chang Cheh” and “comedy,” two concepts that seemingly couldn’t be further apart. I love a good kung fu comedy, but I never imagined Chang Cheh would throw his hat into that ring. Nothing about Chang’s films suggests he had any interest in making a comedy, in fact, the kung fu comedies that arose from this era seem like a specific reaction to the ultra-seriousness of Chang Cheh’s genre-defining work. I don’t know what compelled him to attempt a comedy, but judging from Magnificent Wanderers I think it’s safe to say it wasn’t a great fit.

Lin Shao You (Fu Sheng), Shi Da Yong (Chi Kuan-Chun), and Guan Fei (Li Yi-Min) are three poor nomads who make a living by hustling with a rigged fortune-telling stand. After a successful day, Lin suggests they all visit a real restaurant for once. They are stopped before they can sit down, but the well-known millionaire, Chu Tie Xia (David Chiang), claims they are his friends and invites them to dine with him. So begins a friendship upon which the rest of the film is built. There isn’t really much of a plot to the film; it’s more about the general struggle between our heroes (who are attempting to meet up with the rebellion) and the Mongols. This doesn’t accurately represent the movie that well, though, as the tone is always lighthearted and jovial. It’s a comedic struggle with bungling, farcical Mongol villains.

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The Naval Commandos (1977)

The Naval Commandos [海軍突擊隊] (1977)

Starring Lau Wing, Chi Kuan-Chun, David Chiang, Alexander Fu Sheng, Shih Szu, Ti Lung, Bruce Tong Yim-Chaan, Chiang Sheng, Phillip Kwok Chun-Fung, Lu Feng, An Ping, Woo Kei, Shan Mao, Lee Sau-Kei, Chu Jing, Kwok San-Hing, Lam Fai-Wong, David Tang Wei

Directed by Chang Cheh (with Pao Hsueh-Li, Wu Ma, and Liu Wei-Bin)

Expectations: Pretty high.


The Naval Commandos was one of the last movies Chang Cheh made in Taiwan before returning to the Shaw studio in Hong Kong. It was produced in cooperation with Taiwan’s Central Film Company, and like 7-Man Army, the Taiwanese military assisted with the filming by providing vehicles and other tools of war to make the film realistic. This is evident throughout the film, but it is the most prominent during the film’s introduction and frame story. It depicts a training exercise simulating the many pieces involved in a successful beachfront invasion (similar to the D-Day invasion shown in Saving Private Ryan or The Big Red One). It works beautifully to set the stage for the wartime action drama to follow, as well as serving as a large-scale display of power for the Taiwanese military.

This introduction is great, and it perfectly frames the film, but the film’s primary story is far more interesting. Many years prior during the Second Sino-Japanese War, when the Chinese Navy was less advanced, the Japanese cruiser Izumo (referenced as Izuma in the subtitles) was docked in Japanese-controlled Shanghai in preparation for further attack on China. The Chinese Navy had nothing that could stand up to the Izumo in direct battle, so it is decided that a small group of men aboard a torpedo boat will try to perform a sneak attack disguised as a fishing boat. Getting there is not so easy, though, as there is a huge field of mines to be crossed and Japanese patrols to elude. It is a valiant plan in theory, but unfortunately it is derailed before it even has a chance of success. The men arrive in Shanghai, undeterred and focused on finding a new method of sinking the Izumo.

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Young Lovers on Flying Wheels (1974)

youngloversonflyingwheels_2Young Lovers on Flying Wheels [電單車] (1974)

Starring Ti Lung, Rainbow Ching Ho-Wai, Helen Ko, Chin Chun, Chiang Nan, Dean Shek Tin, Lee Hoi-Sang, Lam Fai-Wong, Wong Ching, Lee Man-Tai, Lau Mei-Fung, Gam Lau, Wong Chi-Keung, Ho Pak-Kwong

Directed by Ti Lung

Expectations: Moderate. The title is fun and intriguing.

twohalfstar


Within mere seconds, Young Lovers on Flying Wheels has shown us both young lovers on the beach —  Song Da (Ti Lung) and Ye Wei (Helen Ko) — and a bunch of young riders zipping around on the flying wheels of their motorcycles. The tone is immediately light and a bit strange, as Ti Lung is wriggling on the sand to avoid Helen Ko’s kisses and eventually runs away and jumps into the ocean. OK, then! The title led me to believe this might be a motorcycle-themed delinquent youth romance picture to go along with the many films of Chang Cheh (and David Chiang’s The Drug Addict). It’s technically closer to those than any other Shaw films, but it lacks the hard-hitting drama necessary to pull that type of movie off. Ti Lung’s directorial debut is more of an action comedy with a moral, although without the drama the moral isn’t nearly as potent as it could have been.

Shortly after the beach shenanigans, Song Da and Yu Wei need to catch the bus back to town. They aren’t quick enough to make the big bus, and when the mini-bus comes around there just isn’t enough room for them both. Yu isn’t the kind of girl who likes to be kept waiting, so when a group of motorcyclists stop to help, she hops on the back of one of their bikes and rides off without Song Da. She’s a selfish girlfriend, pushing Song Da out of his comfort zone and influencing him negatively. Song Da is a dreamy, somewhat dense character, naive and looking for guidance. Watching Yu drive off with the motorcycle dudes, he dreams of one day having his own bike, and this dream quickly consumes him completely.

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