Flying Guillotine 2 (1978)

Flying Guillotine 2 [清宮大刺殺] (1978)
AKA Flying Guillotine Part II, Palace Carnage

Starring Ti Lung, Shih Szu, Ku Feng, Lo Lieh, Wai Wang, Shih Chung-Tien, Nancy Yen Nan-See, Lau Luk-Wah, Wong Chung, Fan Mei-Sheng, Cheng Kang-Yeh, Ku Kuan-Chung, Chan Sze-Kai, Ching Miao, Ku Wen-Chung, Yang Chi-Ching, Shum Lo, Wang Han-Chen, Keung Hon, Lau Wai-Ling, Shih Ping-Ping, Chan Mei-Hua

Directed by Cheng Kang & Hua Shan

Expectations: High, I really enjoyed the first one.


I hope no one has been holding their breath for my next Shaw Brothers review! It’s been almost an entire year since I’ve written anything (the 1976–1977 Top 10 List was posted 9/28/18 😳 ), and for that I apologize. The good news is that I’ve had some life changes recently, and they should allow me the free time necessary to keep up my old pace of once-a-week Shaw Brothers reviews. Thanks for sticking around! Anyway, onto the review!


On the surface, Flying Guillotine 2 seems like it can do no wrong. It’s a sequel to Ho Meng-Hua’s 1975 smash-hit The Flying Guillotine (also one of Ho’s best films), it stars the electric Ti Lung, and it boasts directorial credits from Cheng Kang, always impressive & dependable, and Hua Shan, a less-skilled director but one that knows his way around crafting a fun film (See: The Super Inframan). Upon watching Flying Guillotine 2, though, all of these elements are very clearly separate and not exactly working together as they should. The story and “our star” Ti Lung are barely there, and the film was clearly saddled with lots of production issues. The resolute, strong style of Cheng Kang is sprinkled throughout, but the bulk of the film is very obviously not up to his usual standards. Apparently, Cheng left part-way through filming, as did the stars of the original film — Chen Kuan-Tai and Liu Wu-Chi. Hua Shan and Ti Lung came in to salvage what they could, but you can only do so much with such a fractured filmmaking journey. (If you’re interested in a more detailed account of this, make sure to check out the film’s review on Cool Ass Cinema!)

The barely there story of Flying Guillotine 2 can be boiled down to this: the Emperor (Ku Feng) is still after Ma Tang (Ti Lung), but he needs to improve the flying guillotine since Ma Tang devised a way to defeat the deadly weapon. Meanwhile, the daughter of an Imperial official, Na Lan (Shih Szu), infiltrates the Imperial Flying Guillotine Academy in an effort to steal the blueprints for Ma Tang. In two sentences, I’ve described the plot of essentially the entire film. The Imperials say, “We gotta catch those rebels!” and the rebels conspire to fight the corrupt officials. That’s really all there is. Ma Tang is mostly off-screen in the background of the events, too, so the film neither has a story or a main hero. This would be fine if there were someone to take his place, and Na Lan sort of does, but the film actually focuses on the Emperor and his minions more than anything else.

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Return of the Dead (1979)

Return of the Dead [銷魂玉] (1979)

Starring Ku Feng, Wang Lai, Lau Luk-Wah, Yeung Chi-Hing, Yueh Hua, Chan Wai-Ying, Si Wai, Yuen Sam, Cheng Miu, Ko Hsiang-Ting, Cheung Ching-Fung, Choh Seung-Wan, Tai Kwan-Tak, Chan Shen, Chun Wong, Wong Ching-Ho, Lau Wai-Ling, Shum Lo, Fung Ming, Lui Tat, Wang Han-Chen

Directed by Li Han-Hsiang

Expectations: Moderate. Hopefully it’s as good as The Ghost Story or better.


Li Han-Hsiang followed The Ghost Story with another horror anthology nine months later: Return of the Dead. It is a much more conventional anthology, with a framing story bringing together three stories which would otherwise have no connection. Return of the Dead is also not a sexploitation film (although it does brush up against the genre in a couple of scenes), so overall I imagine it is a much easier to digest film for traditional horror audiences. The only problem is that Return of the Dead just isn’t as good as it ought to be. The stories are all entertaining and engaging, but they lack a bit of oomph to really send them into a territory that inspires love. I liked the film, don’t get me wrong, it’s just that there’s not a lot to hang any sort of recommendation on.

The framing story is relatively light, showing the protagonists of the individual stories explaining how they came to reside in the insane asylum they all call home. The first story is likely to be familiar to horror fans, as it is an adaptation of the time-honored tale, The Monkey’s Paw. Here the paw is a necklace with a charm depicting the three wise monkeys (See No Evil, Hear No Evil, Speak No Evil). Ku Feng and Wang Lai play husband and wife, with their son played by Lau Luk-Wah. Lau works at a local factory, while his parents have a small, but successful fermented tofu business. Ku Feng’s character has adopted the name Wang Zhi-He to help sell his goods, as the real Wang Zhi-He was the man who discovered and popularized bottled, fermented tofu. If you know the story of The Monkey’s Paw, you’ll know what comes next. It is a simple, but effective moral tale, and Li Han-Hsiang adapts it well.

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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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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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The Magic Blade (1976)

The Magic Blade [天涯明月刀] (1976)

Starring Ti Lung, Lo Lieh, Ching Li, Tang Ching, Tanny Tien Ni, Lily Li Li-Li, Fan Mei-Sheng, Ku Feng, Norman Chu Siu-Keung, Lau Wai-Ling, Cheng Miu, Chan Shen, Teresa Ha Ping, Ku Kuan-Chung, Kong Yeung, Ng Hong-Sang, Chan Sze-Kai, Wong Ching-Ho

Directed by Chor Yuen

Expectations: Very excited to finally re-visit this.


The Magic Blade is a highly regarded wuxia in the Shaw Brothers catalog, and the nearly unanimous praise led me to review the film in 2010 (two months after starting Silver Emulsion). At the time I thought it was OK, but I didn’t understand why it was so well-loved. As the weeks went on, I kept thinking about the film, and how I must have missed something. I determined that context was the thing missing from my viewpoint, so later that year I began my chronological Shaw Brothers review project to fill my head with all the context I could handle. It’s now seven years later and I have finally arrived back around to The Magic Blade. It seems most people love the film right away, but for me I definitely needed the context to truly appreciate its mastery of the wuxia form.

The Magic Blade portrays a martial world full of strife and treachery. Like Killer Clans, it focuses on the dangers of the martial life and how prepared & alert one must be to survive against others’ devious intellect. The film opens on the deserted and quiet Phoenix Town, but this peace doesn’t last long. Out of the silence comes a procession of musicians, dancers, courtesans and other servants who prepare the town square for a grand display of entertainment for their master Yen Nan Fei (Lo Lieh). The celebration is cut short when a poncho-wearing Fu Hung Hsueh (Ti Lung) ominously appears out of the shadows. The two men have an appointment and a score to settle. Midway through their fight, though, a pair of expert assassins, Wood Devil and Tree Devil, ambush them. Fu and Yen are both swordsman of considerable skill and talent, and they have been targeted by the current leader of the martial world, Master Yu. Despite their vendetta to fight to the death, Fu and Yen team up for the time being to combat their shared threat.

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Spirit of the Raped (1976)

spiritoftheraped_1Spirit of the Raped [索命] (1976)

Starring Liu Wu-Chi, Tung Lam, Wong Yu, Wong Chung, Wang Hsieh, Teresa Ha Ping, Tin Ching, Lau Wai-Ling, Chan Lap-Ban, Lam Wai-Tiu

Directed by Kuei Chih-Hung

Expectations: Kuei Chih-Hung! I hope it’s great.

threehalfstar


Spirit of the Raped couldn’t be a more perfect contrast to last week’s Shaw film, Night of the Devil Bride. The two films share a ton of broad similarities, but where Devil Bride was disappointing and unfocused, Spirit of the Raped made good on all of its promises and puts the sympathetic character front and center to heighten our emotional engagement. Not that movies can’t experiment with their object of focus, it’s just that some films need a certain something to stand on their own. In any case, Spirit of the Raped is a great film from Kuei Chih-Hung, and one that foreshadows the gooey, gross-out territory he would later explore and define in Bewitched and The Boxer’s Omen.

Liu Miao-Li (Liu Wu-Chi) and Chen Liang (Lam Wai-Tiu) are a young couple riding in the back of a minibus. They’re excited to be married soon, and Liu has just informed Chen that they’re also expecting a child! Their whole lives are ahead of them, until just a few minutes later when a trio of thugs rob the minibus. One of the criminals (Wong Chung) finds a stash of money the couple were trying to hide, so he kills Chen with a heartless blow to his neck. Unfortunately, this is only the beginning of Liu’s horrendous misfortune.

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