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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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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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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Deadly Angels (1977)

Deadly Angels [俏探女嬌娃] (1977)
AKA Bod Squad, Women Detectives

Starring Lau Wing, Nancy Yen Nan-See, Siu Yam-Yam, Evelyn Kraft, Dana, James Nam Gung-Fan, Kim Jeong-Nan, Shut Chung-Tin, Si Wai, Cheng Miu, Lee Hoi-Sang, Chin Chun, Gam Biu, Fung Hak-On, Chan Shen, Wu Ma

Directed by Pao Hsueh-Li

Expectations: Low, but part of that is the print quality.


In 1980s Hong Kong cinema, the “Girls with Guns” sub-genre of action was very popular. I’ve seen Deadly Angels referred to as the progenitor of the genre, and perhaps that was the case, but there were definitely similar films made prior to this (1974’s Virgins of the Seven Seas is the one that immediately comes to mind). The film’s success is also up for debate, as the Movieworld box office site lists it as the top Hong Kong film of the year, while the HK Urban Council’s 1984 book A Study of Hong Kong Cinema in the Seventies (1970-1979) doesn’t show it at all in their Top 10 Box Office listing. I have previously found slight discrepancies with Movieworld’s site, and the film’s seven-day run would correspond more accurately with a less successful film, so I’m leaning heavily towards the HK Urban Council. Whether it was successful or not, Deadly Angels has fallen into obscurity and is only available in low-quality VHS prints. I’m sure the film would play better in its original language, remastered and in its intended ratio, but the film was a co-production with the South Korean company Woosung Productions, and if I’m not mistaken Celestial hasn’t remastered any of Shaw’s major co-productions (due to licensing issues, I’m guessing).

Deadly Angels opens with a woman walking into a darkened room. A man asks, “Did you bring the stuff from Hong Kong?” She answers to the affirmative, the man walks out of the shadows and violently rips off her bra. Small packets containing diamonds are ripped out of the bra’s lining, and before the woman can leave the room, a throwing knife plunges into her neck. To combat such a violent and ruthless criminal organization, the police must come up with something special. The gang only uses showgirls to smuggle their stolen diamonds out of the country, so the team must be composed of beautiful women. Good thing the Hong Kong police has Evelyn Kraft on its force, as she has assembled a “special action squad” of three foxy females ready to take on organized crime. I didn’t catch their character names, but they are played by Nancy Yen Nan-See, Siu Yam-Yam, and Dana. Each one carries a unique weapon in addition to their firearm and martial arts expertise: a small spiked ball on a long chain, a mini-crossbow, and a slingshot disguised as a hair tie (with explosive-shot earrings)! All this adds up to a James Bond meets Charlie’s Angels meets the Shaw studio sort of thing, and it’s pretty darn entertaining at its heights.

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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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Brotherhood (1976)

Brotherhood [江湖子弟] (1976)

Starring Lau Wing, Woo Gam, Lily Li Li-Li, Wang Hsieh, Shut Chung-Tin, Chiang Tao, Cheng Miu, Chan Shen, Leung Seung-Wan, Fung Ging-Man, Yeung Chak-Lam, Keung Hon, Ngaai Fei, Shum Lo, Liu Wai, Lee Sau-Kei, San Kuai, Hao Li-Jen, Wong Ching-Ho, Ku Kuan-Chung, Bobby Canavarro, Yuen Biao

Directed by Hua Shan

Expectations: Excited to finally see a Hua Shan movie that isn’t Super Inframan.


Brotherhood is a great piece of entertainment, but as a cohesive film it’s a little less successful. It tells a story of Liao (Lau Wing), a man who becomes part of a powerful Hong Kong triad, but long stretches of the movie leave this character by the wayside to focus on the triad itself and the politics within. It shifts its focus so seamlessly that I honestly didn’t notice until it had been at least 15 minutes, but once the realization hit it was hard to ignore. The movie works its way back around to Liao, but the two stories aren’t intertwined well enough. When we rejoin Liao, he’s also evolved into a different type of person. I would have preferred to see the evolution, although with tons of movies that already do this, perhaps I should just enjoy Brotherhood for cutting out the middleman. In any case, I had some troubles with the film (that might be resolved with a re-watch), but none of them really hinder the film’s constant, high-value entertainment.

Liao Da-Jiang is a petty criminal pulling robberies with a group of three other guys. We enter the movie mid-jewelry heist, and unbeknownst to the criminals it is to be a pivotal moment in their lives. Liao is older than your typical juvenile delinquent, so Brotherhood felt like it could be the next step from that sub-genre of Hong Kong crime films. We can assume that Liao’s poor choices as a teenager led him to this moment, but as an adult the consequences are more lasting and serious. The twists and double crosses come fast and brutal in Brotherhood, and they eventually lead Liao to join the San He Tang triad. The triad is also experiencing a time of huge change, with its own share of brutal double crosses. The plot follows these two threads in fairly obvious ways, but as I mentioned, Brotherhood is always highly entertaining thanks to a couple of factors (namely the well-rounded cast, the harsh brutality of the violence, and the action choreographed by Yuen Woo-Ping and Yuen Cheung-Yan).

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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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