The Enchanting Shadow (1960)

The Enchanting Shadow [倩女幽魂] (1960)

Starring Chao Lei, Betty Loh Tih, Tong Yeuk-Ching, Yang Chi-Ching, Su Hsiang, Lee Kwan, Li Kuo-Hua, Lok Kei, Hao Li-Jen, Wong Yuet-Ting

Directed by Li Han-Hsiang

Expectations: I have high hopes.


The Enchanting Shadow is one of the true classics in Hong Kong horror, elevating the genre and inspiring filmmakers for years to come. It competed in the 1960 Cannes Film Festival — Fellini’s La Dolce Vita won that year — and it was submitted as Hong Kong’s entry for Best Foreign Film at the 33rd Academy Awards — it was not nominated and Bergman’s The Virgin Spring ultimately won. Li Han-Hsiang was a well-established director at this point in his career; the previous year his film The Kingdom and the Beauty was an award-winning success that remains one of the best Huangmei operas to be produced by the Shaw Studio. From what I could tell from HKMDB, The Enchanting Shadow was his first foray into the horror genre, and while it isn’t exactly what American audiences would recognize as a horror film, it is most certainly typical of the genre in Hong Kong.

The Enchanting Shadow is based on the story Nie Xiaoqian from Pu Songling’s classic 18th Century collection, Strange Tales from a Chinese Studio. The same story — along with The Enchanting Shadow itself — served as the basis for the ’80s classic A Chinese Ghost Story. Like many of the stories in Pu’s collection, it is a tale of a scholar who gets involved with a ghost. In this particular case, Ning Caichen (Chao Lei) is a tax collector who needs a place to stay. All the inns are full, but he hears of Jinhua Temple, 10 miles north of town, and decides to stay there. He is warned that the temple is haunted, but he ignores this and stays there anyway. There he meets Yan Chixia (Yang Chi-Ching), a Taoist swordsman staying there, who lends some credence to the rumors of spirits haunting the temple.

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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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The Ghost Story (1979)

The Ghost Story [鬼叫春] (1979)

Starring Yueh Hua, Woo Gam, Shirley Yu Sha-Li, Lisa Chiao Chiao, Wong Ching-Ho, Kara Hui, Lam Yeung-Yeung, Jamie Luk Kim-Ming, Lee Kwan, Ng Hong-Sang, Yeung Chi-Hing, Fung Ging-Man, Wang Han-Chen, Ku Wen-Chung, Tin Hoi-Fung

Directed by Li Han-Hsiang

Expectations: Curious, but not sure.


The Ghost Story is a sort of anthology film, but the way it’s told the second story is meant to represent the reincarnations of the characters from the first, and the leads are played by the same actors (Woo Gam & Yueh Hua). Some secondary actors reappear in similar roles, as well. But since there are two distinct segments and a framing story of a grandpa telling stories to a rapt audience, I suppose it’s as much of an anthology film as anything else. The stories here are adapted from Pu Songling’s ever-popular short story collection, Strange Tales from a Chinese Studio, first published in 1740. The bulk of the film is based on one of the most popular tales, The Painted Skin, while the first story is a bit harder to pin down.

There are 491 stories in the full version, but most English editions are whittled down to somewhere around 100 stories. The book I have has a story titled Making Animals that contains some elements present in the first segment of The Ghost Story, but other than that I was unable to identify the specific story being adapted. A six-volume, complete English translation was finished a few years ago by Sidney L. Sondergard, so perhaps one day I’ll figure it out. For now, though, we’ll have to be satisfied not knowing or assuming that Li wrote a new story around elements of Making Animals. Anyway, once he tells the kids to go to bed, our narrator begins a tale that occurred sometime during the reign of Empress Wu of the Tang dynasty. It is the story of Hua’s Inn, run by three sisters, and how a group of tired soldiers sought refuge there.

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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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