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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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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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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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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Uncle Jasper reviews: Chinatown Kid (1977)

Chinatown Kid [唐人街功夫小子] (1977)

Starring Alexander Fu Sheng, Sun Chien, Shirley Yu, Susan Shaw Yin-Yin, Kuo Chui, Lo Meng, Wang Lung-Wei, Jenny Tseng

Directed By Chang Cheh


 

I’m afraid that this review was a little bungled from the start. This is what happens when you wind up with a bad copy of a film slated for review and are left with no alternatives but to move ahead…

Any true old school kung fu movie fan has no doubt been in sustained elation since the Shaw Bros catalog had been obtained and dramatically restored by those fine folks over at Celestial Pictures almost ten years ago now. It’s been a nice decade of film viewing for fans of the legendary studio, no longer forced to waddle through 7th generation muddy pan & scan copies of their favorite martial arts classics. It’s a win-win situation for all parties involved, as I think nobody can complain about the work done on preserving the integrity and beauty of these fine films.

Then we have Chinatown Kid, which proves to be the proverbial one that got away when this whole deal went down. Not to say that the film doesn’t look amazing, the restoration here is every bit as beautiful as Celestial’s other remastering efforts. The problem is that Celestial went through its arduous, painstaking lengths only to wind up remastering THE WRONG FILM!

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Uncle Jasper reviews: Gallants (2010)

Gallants [打擂台] (2010)
AKA Tiger & Dragon Reloaded

Starring Chen Kwan-Tai, Bruce Leung, Teddy Robin Kwan, Wong Yau-Nam, JJ Jia, M.C. Jin, Susan Shaw Yin-Yin, Lo Meng

Directed By Derek Kwok, Clement Cheng


My interest in Gallants was initially piqued after hearing that it marked the big-screen return of Shaw Brothers veterans Chen Kwan-Tai and Lo Meng. Then after learning that ex-Bruce Lee clone Bruce Leung starred alongside as well, nothing short of a ShamWow™ could mop up my steady stream of drooling anticipation. It was an instant sell. After finally getting a chance to see it, the novelty of seeing all of my favorite old-school kung fu heroes together again pales in comparison to the fantastic inspiration and brilliant testament to the fighting spirit that this film delivers. I am in love with Hong Kong cinema again and all I want to do is run outside and jump-kick garbage cans for the next three hours.

Equal parts Rocky, The Karate Kid, and Cocoon, Gallants is as inspirational as these films yet manages to remain a loving product of its homeland. Anybody with even a vague interest in the martial arts will be glued to the screen here, and old school Shaw Brothers fans are especially in for a treat. But what Gallants has to say is transcendent of simple setting and surface visuals. Yes this is a film about the martial arts and the perseverance of the fighting spirit. But even more so, this film deals with everything from courage, redemption, dignity in old age, to the convenient and flashy repackaging of honored philosophies in order to make a quick buck. The rewards that can be reaped from this film are virtually endless. You can cram a theater full of viewers into a screening of Gallants and nearly every person could take away something a little different.

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