A tour of the new Shaw Brothers film studio

In the golden period from the late 1960's to the early 80's, Shaw Brothers studio produced hundreds of Hong Kong movies, all with a stamp of quality very much its own. Shaw Brothers was a film-making machine so well oiled the prodigious output could overcome an indivudual (me). Tempered with this was an approach to the craft and art of film-making that is more accessible to the uninitiated, due to the relatively high production values and well constructed narratives. The recent remastering of hundreds of these classics is like a light in the dark to Kung fu film lovers; now the movies look like they could have been made yesterday, yet retain their old skool edge. An interesting thing about this is that Shaws did not overlook the process themselves. Like in the early 80’s, when Golden Harvest took over and Shaws movies could not keep up with the shifting trends, does this mean Shaws has been left behind in the wave of the new? My visit to the new studio confirmed the answer to this is a definite no.

My friend and I, still jet-lagged and dizzy with the sights and sounds of Hong Kong, set out to the studio. My other friend had told me to get the tube to Po Lam then get a taxi, and to say Shaw Brothers studio. Thing was, in my infinite ignorance I didn’t realise there was a completely new studio. The taxi driver said: “which one? The industrial estate or Clearwater Bay?” Me: “Clearwater Bay.” My ignorance was a blessing in disguise however, as we got to walk in the footsteps of legends and soak up the atmosphere of that magnificent old place. Even if it was just a view of the sign and a glimpse of a studio. So we get to the reception of Shaw House, just around the corner, and give them the name of the Customer relations guy I had been in contact with. The receptionist: “We don’t have anyone of that name working here. I’ll phone the new studio and ask them.” In my head: “D’oh!”. The receptionist talked in Cantonese, then said she would call us a cab. The driver seems to know where we want to go. We roll up at the TVB studio. He points at the security guard, and doesn’t understand our protestations. It’s not my ignorance this time, and feels even better for it; I get to see the TV station where my favourite Chinese actor Chow Yun-Fat began his career. We talk to the security guard, he calls us another cab and finally we arrive.

Despite lacking the romantic impression forever emblazoned in my mind of the old studio exterior, the new one looks modern, angular and welcoming. As we were late I was a little worried, but fortunately our guide Customer relations assistant Vincent Ye had been held up as well. We sat down to have a chat, and he bought us a coffee each, which set the tone for our experience of Vincent, one of warmth and affability. His pretty fresh-out-of college intelligence and maturity impressed and won me over. I immediately took out my notebook, and he said there was no need for it, just enjoy the tour. My memory is not great, but man am I glad I didn’t scribble words in random order that I wouldn’t have understood later on. Vincent explained how the studio is producing 4 feature films a year , and has expanded into commercials, Cantonese music and other Asian countries pop music and American film. My first question, being a kung fu movie lover, was “What about Martial arts films?” Unfortunately the answer was “Not at the moment. We are producing dramas.” Luckily I have become a fan of Hong Kong and Chinese dramas more recently. A few years ago I would have been crushed by this news. As some of you may remember the first reopening of the studio was in 2003, with Drunken Monkey. A lot of us had high hopes for this movie, as the legendary Shaws choreographer and director Lau Kar Leung was at the helm, but it turned out to be a bit of a damp squib. Who knows if this had a hand in the change of direction in film making.

Having the first look around the studio was pretty awe inspiring. It’s like a scene from a David Lynch movie; all red velvet curtains, labyrinthian and surreal ambience. The first room we were shown was the editing suite. On the screen an old movie was playing that Vincent explained to us was the 1996 Mainland movie King of Masks. This surprised me, as before I had left I had heard about the movie as it was being shown in a season at the Filmhouse cinema in my home city Edinburgh, Scotland. This cinema is well worth a visit, as it is dedicated to bringing the best of world cinema to the big screen. I caught Johnnie To’s Mad Detective there a few years back, bliss. Vincent and his colleagues explained they were remastering the movie, and showed us a comparison between the original and the remastered version, which was eye opening. The first thing that struck me was just how advanced and modernised the studio is. Vincent had explained earlier that they were aiming for top tier technology, and despite being a bit of a technophobe, it appeared to me they have achieved this. The pristine, spacious and economical design drew me in, at once comforting and disconcerting. Being thrust into this advanced world, the impact of it did not hit until later. I believed I was going to walk into that studio of old, the sets and costumes of ancient Chinese scenes still intact, the ghosts of such luminaries as Alexander Fu Sheng haunting the corridors.

As we walked around, workmen still unrolling carpets and painting walls, I got the sense of people moving forward. In fact, my whole experience of Hong Kong (It was my first visit) resounded with this. It is a wonderful feeling, one that inspires and is impactful. Yet there is so much zen-like calm amid the storm of dizzying sights and sounds. For instance we enjoyed traditional Chinese music sang and played by local people as we passed every night. My favourite director John Woo’s masterpiece The Killer captures this uncannily, especially in the early scenes of the film, which resound with romance and emotion.

The next two rooms we saw were for music recording. The first was for orchestration, which reminded me of so many documentaries I had seen on television, and I could imagine the orchestra in full swing. The next was for popular music, and we got to hear a Cantopop song the guys were mixing. As is usual in this native music it was a syrupy ballad, not to my taste at all. Vincent : “What do you think?” Me, being diplomatic: “It’s allright.” My friend, who speaks his mind more than I: “Not my kind of thing.” Vincent: “Not my kind of thing either!” So much for diplomacy. It struck me that all of the workers looked very young, and there was a huge sense of camaraderie among them, a feeling that they were the new blood, one that would embrace all the new in every possible way. Talking to Vincent as we walked, I got the same feeling, a pretty obvious one. I would talk about this old kung fu classic or that one, and he would quickly move the subject on to matters of the modern. Even talking about Shaw Brothers involvement in for me one of the greatest movies ever made, Blade Runner, was met with a muted response. However, the next room gladdened my heart with its mix of ancient and modern.

This was the foley room. As Vincent showed us the small cupboards and glasses used for foley, a wave of nostalgia overtook me. I remembered that classic British documentary about the 70’s Shaw Brothers studio, with footage of the foley artists overdubbing simply everything in the movie, working at their craft with diligence and pride. The advent of sync sound hit Hong Kong movies late, but this artform was taken to extremes in the golden age. Although I was born in ‘82, the romance and power of 70’s Martial Arts movies reaches out to me. It was a period where anything could happen; and the gleeful abandon and invention never fails to sweep me away on a deliriously entertaining ride. As a latecomer to Shaws Kung Fu, it is strange for me because I have only seen them in their new pristine form. I grew up on Golden Harvest and Independent classic Kung Fu movies, and got used to ridiculous dubbing and grainy, worn out prints. I feel priveleged to see these movies for the first time without unintentionally humorous moments, although there was something weirdly special about recognising the different expat accented dubbers from film to film.

The last place we visited was one of the soundstages, which was huge and inviting. Vincent explained aswell as shooting in them they held parties there, that I’m sure would be the hottest ticket in town. As we waited for our taxi, which took a little while, we got to know Vincent a little better. He said he liked having “crazy guys” as friends, which we appeared not to be. My repost should have been “Meet me after a bottle of whiskey!” but I wanted to appear too professional. He told us he had written a script that he would be trying to get produced soon, it sounded very interesting. The youthful confidence and easy going attitude he exuded seemed to coalesce with everything we experienced in that glimpse of something very special; and as we drove off the transformation of my mindset was complete. I had expected tradition, in it’s place was shifting modernity and advanced technology, ready to reinvent itself in a world eager to experience it.

A tour of the new Shaw Brothers film studio

The Lunatics - Review



The Lunatics, made in 1986, is an anomaly of a Hong Kong film. An unapologetic social commentary, its themes and story telling have no precedent and have yet to be revisited by Hong Kong film makers. At the time of its production the new wave of directors had cast a near revolutionary light on output, with some films style being more documentary led. The Lunatics is a natural progression in this style, with realism, in the main, being the order of the day. Making his directorial debut, Derek Yee took a real chance in the making of the film. Those among you may remember him as an actor from numerous Shaw Brothers swordplay and Kung Fu movies, including Shaolin Prince and Shaolin Intruders, both classics of the genre. The style of The Lunatics could not be more different from these fantastical martial arts old skoolers. Since making the film Yee went on to direct such well-regarded movies as Mon Cherie, Amour and the recent One Night in Mongkok. He has yet to recreate the raw, savage and meaningful film-making of The Lunatics. The film, not well received on its original release, has since then been marketed on the roles of Chow Yun Fat and Tony Leung Chiu Wai. Actually both actors play small parts as mental patients, in two roles completely divorced from any of their other performances. The star is Stanley Fung, a known comic actor (especially in Sammo Hung’s Lucky Stars series), with support from Deannie Yip. Tony Leung appears at the start and end of the film, lending an unhinged intensity to his role as Doggie.

Leung blurs the lines between comic and tragic with his opening portrayal of Doggie, whose attempts at playfulness with the customers at a fish market ends up with him wielding a machete. In steps Fung as Doctor Tsui to handle the situation. A news reporter (Yip) arrives at his office, wanting to do a story about mental illness and the people who suffer from it in Hong Kong. The plot follows the two episodically as they go around from patient to patient. It should be noted that the patients who are depicted are all extreme cases, many of them prone to violence without the right medication. Chow Yun Fats role occurs in the middle, as a schizophrenic whose living conditions are so bad his daughter is ill and son is dead, which is revealed in a shocking scene. The majority of the narrative concentrates on documenting the plight of the mental patients, how little people like Fung can do for them. The main patient is painted at first as a success story, as he is living at home and is seemingly fine, but his story becomes the focal point of the tragic elements of the story.

Chow’s performance, for him having such little screen time, highlights what a versatile actor he is. Considering the film was made in 1986, the same year as his breakthrough role in A Better Tomorrow, the two characters and films could not be different. However, even in portraying a mentally ill character his charisma and good looks tend shine through, making his characters plight a little less believable than intended. The performance by Paul Chun Pui as the main mental patient, is perhaps the best in a very strong array of performances, especially by Fung. The acting really carries the film, which is unusual for Hong Kong cinema at the time that concentrated mainly on aesthetics and action. Chun Pui conveys the development of his characters llness with disturbing force, providing two or three of the most uncomfortable moments of the film. There is no dodging of the subject matter here; the worst affects of mental illness are portrayed unflinchingly and powerfully. One criticism of the film is that in reaching an apotheosis of this it dissolves a little into sensationalism, but who is to say incidents such as those depicted have not really happened? Fung carries just the right air of desperation in portraying a man who feels he cannot really make a difference but gives it his best shot anyway. It is a rare dramatic performance that hints at hidden depths and brings a sense of authenticity to an already grimly realistic film.

In terms of style the film takes the lead from new wave productions such as Yim Ho’s Father and Son in addressing its subject matter in a realist way, with some scenes shot documentary style. There is a good balance struck between this and at times a more atmospheric, expressionistic approach when the time is right in the narrative. For instance the scene when Chow is running through the forest to find his son the visuals become darker and there is an impressive tracking shot following the characters. Also the music reflects this change in approach, with a thriller/horror like score used to good effect. This intertwining of styles serves to keep the viewer interested in events and highlight the films fictional elements despite its social connotations. The locations used are also of interest; with shooting on the streets of Hong Kong used to good affect. The slum buildings where Chow’s character lives are also exposed, conveying a side of Hong Kong rarely seen on the Jade screen.

Overall The Lunatics is one of the most important Hong Kong films of its era,and manages to captivate the audience in ways that create an antithesis to the normal entertainment value of Hong Kong films. It has not dated and looks and feels fresh and vital, with characters and themes that are still relevant today. One of the most important affects the film has on the viewer is to raise awareness of the problems of mental illness, perhaps still the most mysterious and thought provoking illnesses to be encountered in any age. Seek it out.

Young and Dangerous - Review



In the mid 90’s, Hong Kong’s film industry was not in good shape. With the handover to China imminent, many film makers had relocated to Hollywood, with John Woo of course being the first. One young director was just beginning his career and would, in the coming years, prove to be a trend setter and innovator for Hong Kong cinema. Andrew Lau’s name in recent years has become synonymous with the Infernal Affairs trilogy, the first film of which reinvented the Hong Kong thriller genre. The recent success of the Martin Scorsese Hollywood adaptation of the movie as the Departed has proved the longevity and quality of the original Infernal Affairs. In 1995 Andrew Lau had a few films under his belt including the thriller To Live and Die in Tsim Sha Tsui, but he was yet to have a major hit. The film Young and Dangerous would prove to be a success beyond his wildest dreams. Based on Niu Lo’s graphic novels, it would spawn six sequels and numerous spin offs, mostly centring around the original characters. Though the commercial success of the film cannot be denied, when compared to the cream of Hong Kong gangster cinema from the mid 80s onwards, the quality is sorely lacking. There are many reasons to assert this, but for those of you who are interested in the plotline, here goes.

The film centres around a group of young triad upstarts, led by Nam (Ekin Cheng) under the tutelage of their boss Uncle Bee (Chi Hung Ng). Other members are Chicken (Jordan Chan), Dai Tin Yee (Michael Tse), Chow Pan (Jason Chu) and Pou Pan (Jerry Lamb). They operate through the Hung Hing gang, and are beginning to rise in the ranks. However, when they are assigned an assassination in Macau, things begin to go wrong. Chow Pan is murdered, Chicken is forced in to exile in Taiwan while the rest of the gang are subject to the rules of the triad and are exonerated from the ranks. In the meantime the groups biggest rival Ugly Kwan (Francis Ng) frames Nam and looks to take over leadership from the honourable Mr Chiang (Simon Yam). He succeeds, and this leads to some unsavoury encounters including the murder of Uncle Bee by Kwan. The group decide to wage war on Kwan, and in the messily violent ending get their revenge.

Perhaps the most kinetic and exciting aspect of the film is the plot and narrative, which moves at a breakneck pace, despite comic asides and character development. Hong Kong cinema’s ability in its mature years to create a tight narrative wherein not a second is wasted is second to none among world cinema, and here that is no exception. However comic asides in the film tend to trade creativity for silliness and visual ineptitude. The comic scenes create an incoherence of overall tone, and lack the requisite comedic value to be entertaining. One scene when an extraneous character called the stammerer is forced to eat dozens of pork buns creates a hold up in the action, as do most of the other scenes involving this character do.

The tagline for the movie is ‘A Better Tomorrow for the nineties’, and if there was ever a more inappropriate one this reviewer has yet to hear it. The film lacks all of the things except narrative drive that made A Better Tomorrow such a masterpiece; emotional identification with the characters, charismatic performances and above all aesthetic power. Mawkish sentimentality and pop promo visuals mar the characters moments of bonding, with none of the balanced and enduring imagery and poignancy of emotion on display in A Better Tomorrow. One of the main problems is most of the actors total lack of charisma. In the group only Jordan Chan as Chicken puts in a decent performance, portraying his at first happy go-lucky side melding in to a maturity beyond his character’s years. Ekin Cheng’s wooden and stilted acting style makes you wonder how he became so popular, with only his good looks and cool hairdo carrying anything approaching a performance. It is the older guard who really shine through, with two veterans of the genre showing the youngsters how it’s done. Simon Yam by this time had put in some of the best performances in the action genre, especially in John Woo’s Bullet In the Head. He is sorely underused, and the screen lights up whenever he appears. Francis Ng’s wonderfully laid back but psychotic turn as Kwan, sporting an array of multi coloured suits, is at once comic and tragic. The rest of the cast are disposable and subordinate, with scenes of bonding between the group reduced to drinking games and stupid singalongs.

The biggest disappointment about the movie is the aesthetics. Part pop promo part urban action imagery, the unbalanced feel is irritating. The constantly moving camera in most scenes is disconcerting, and creates a low quality and visually abridged style that probably reflects the way in which the film was shot. Many scenes seem perfunctory and tacked on just to revel in the pop video feeling of the film, such as shots of the group hanging out while tedious proto funk plays on the soundtrack. This contrasts wildly with the lives the characters lead; one of violence and death just around the corner. The filming of such violence is another huge disappointment, with the decision to film action in the jerky-cam style made popular by Wong Kar Wai’s arthouse masterpieces at the time.

It is interesting to compare such scenes with A Better Tomorrow’s poetic ballet and with Wong’s Fallen Angels, a film which came out in the same year as Young and Dangerous. Wong was parodying the typical Woo hero and creating his own style in the action scenes using the jerky-cam. In his scenes despite the visual chaos, framing of the action is constant and built up wonderfully, leaving only a minute of real action which is all that is needed. Young and Dangerous’ appropriation of the technique creates a poor impression of the action and not even a good call for style over content, because the framing is so off in the violent scenes, not allowing for true viewer fulfilment. The end battle is uninventive despite the powerfully tragic death of the films best character, Kwan.

The aspects that help recommend the film are mostly, unfortunately, not given enough screen time. These are the performances of Yam and Ng, and the mildly diverting rock-based soundtrack. Without these it would really be in the doldrums of any age of Hong Kong cinema.The new guard introduced in the film, despite making the sequels and other gangster thrillers, do not compare in any way to the introduction in the 80’s of such icons as Chow Yun Fat. If you want a good representation of mid 90’s Hong Kong cinema reach for those copies of Chungking Express and Fallen Angels, and leave this one on the shelf.

The UK DVD release is by the ever reliable Hong Kong Classics label, released in 1999. The print is in good shape, although it is not restored or remastered, and there is good colour balance. The ratio is 185:1 widescreen, which serves the film well. As for extras, there is the usual from the label: very little. The original theatrical trailer is the only extra.

My Heart is That Eternal Rose - Review

The Hong Kong New Wave beginning in the late 70’s spawned some of the greatest modern Hong Kong directors. Tsui Hark is the name that immediately springs to mind, a genius director responsible for some of the best and most off-the-wall films of the last thirty years. There were other directors whose names as not as well known, but whose contributions were just as important. One of these is Patrick Tam. He began his work in television before moving into film like many of his peers. Perhaps his most famous film, and one of his earliest, is The Sword. This fantastical visually inspired swordplay pic set new standards for high art in the wuxia genre. Into the eighties Tam made one of his (criminally) least well known films My Heart is That Eternal Rose in 1988. This film takes as its base the HK gunplay genre, which was incredibly popular at the time due to the success of John Woo’s masterpiece A Better Tomorrow. Despite sticking to some of the formulas of those films, My Heart is That Eternal Rose is born of the new wave in visual style, characterisation and heart. The unique fusion of new wave sensibilities and the Hong Kong style of action are superbly realised, alongside magnificent performances. This achievement can be attributed to Tam, but also another famous name: cinematographer Christopher Doyle Doyle is best known due to his work with Hong Kong (and now international) cinema’s arthouse genius director Wong Kar Wai, on such films as Chungking Express and In the Mood for Love. Before Wong had started to make his own films he served an apprenticeship as a writer, with one notable project being Patrick Tam’s Final Victory. In fact My Heart is That Eternal Rose was released a year before Wong’s debut, As Tears Go By. Tam was something of a mentor to Wong, and gave Doyle some of his first DOP jobs. As time went on Wong returned the favour, as Tam’s directorial career stalled. Tam served as editor on Days of Being Wild, and contributed to Wong’s run of art house masterpieces. While Wong’s films have no real precedent in Hong Kong or international film, Tam’s are directly out of the Hong Kong new wave, and My Heart is That Eternal Rose is no exception.

The film begins by introducing the two main characters Lap (Joey Wang) and Rick (Kenny Bee). They are here portrayed as naïve and innocent as can be, making their later transformations all the more exciting, if a tad unvelivable. Lap’s father Cheung (Kwan Hoi San, Uncle Hoi from Hard Boiled) is a retired triad who is forced by his old partner Shing to take part in the trafficking of an illegal immigrant. Rick is asked to be the driver. Things go awry as a bent cop involved in the scheme wants more cash. An accident causes the immigrant to be shot by the cop, and Rick intervenes to kill the cop before he does the same to Lap’s father. Rick must flee to the Philippines, cutting short the burgeoning romance between him and Lap. To help her father, Lap becomes the mistress of Godfather Shen (veteran kung fu movie star Chan Wai Man), a notable triad leader. Six years pass, and Lap now has her own driver, Cheung (a fresh-faced Tony Leung Chiu-Wai) with whom she forms a close bond. Rick is now a hitman, and by chance accepts a job in Hong Kong to assassinate Godfather Shen’s rat partner. Lap and Rick meet again (by chance) and want to leave together, but Godfather Shen is of course in the way. Cheung tries to help them, and they get away but Lap can’t leave Cheung to die. Who will survive? Watch the blood-soaked climax to find out.

As can be seen with this film and many Hong Kong films in general, there is a reliance on chance to drive the narrative. This may seem short-sighted and formulaic; but when backed up by tight pacing, glorious visuals and romantic believable performances it can be forgiven. In terms of villainous performances, Chan Wai Man does a good job with little screen time, conveying the calm on the outset yet violent intensity of his character. The real surprise here is The Master Killer himself Gordon Liu as Shen’s henchman Li. He gives a superbly sleazy but slightly comic performance, from the first words his character says, and reaches a gloriously gory demise.
As the film progresses the triangular relationship between Lap, Rick and Cheung becomes the underlying backbone of the film. Joey Wang here shows there is more to her than good looks, conveying Lap’s character development from proud, naïve waif to strong experienced woman superbly. Wang at the time was known more for her roles in fantasies, the most famous being A Chinese Ghost Story. Here the departure in terms of acting styles serves her well. Kenny Bee puts in another powerful turn, balancing the romantic and machismo aspects of his character well. Bee was known for his work with new wave director Ann Hui, and his transition from those more arthouse parts to the relatively generic role of Rick is well realised. The romance between the two is believable, but it is the performance of Tony Leung that lifts the film to new romantically charged heights. He deservedly won a Golden Horse (Hong Kong’s Oscars) for best supporting actor for the film, and the deep emotion that is his trademark is delivered unreservedly. His character is in love with Lap, and the emotional pull this creates is very strong. This is achieved with some beautiful visual symbolism, which can be credited to Tam and to co-cinematographer David Chung, but in the main Christopher Doyle.

Doyle is an anomaly, being the first foreigner to carve out a career as DOP on many Hong Kong and Chinese film projects. His sensibilities are perfect for the hybrid nature of Hong Kong film making, and even from the beginning this is evident in the masterful use of visual symbolism and atmospheric lighting of My Heart is That Eternal Rose. In the opening scene the lighting is high contrast, with soft focus and bright colours in the interior of the bar and very dark outside. This creates a slight dreamy haze to the atmosphere, and a shot of Lap outside on the beach is green tinged and unusually beautiful.

The relationship that Lap has with four men (Rick, Godfather Shen, Li and Cheung) is given more depth by the use of symbolism. In the scene where Lap goes to ask Shen to help her father, there is a manga-esque angle with Lap’s face in close up in the left of frame, while Shen is in the background watching her, her having not seen him and talking to Li. Here in one shot the relationship between Shen and Lap and Li and Lap is given extra significance; Shen sees her as a possession, and does care for her given his want to take her out of her strife. She sees him as a way to save her father. Li is seen as nothing to her, intensified by the fact that she thinks he is Shen, and he is not seen in this most unusual and eye-catching shot. In a later scene when Lap has become Shen’s mistress, there is a shot with him in close up in the right of frame while she is reflected in the left in a mirror. This portrays the reality of their relationship; he cannot possess her heart, as it belongs to Rick, only a reflection. Even later as the three main characters are hiding out together Lap comes into shot through broken glass, to lie with Rick. On the other side is Cheung, framed by the glass. This conveys the breaking of Cheungs heart, and foretells the fate of all three. The visual trademarks are here from Doyle, who uses similar techniques in his films with Wong Kar Wai.

For the action fans, those expecting intricately choreographed gunfights will not be let down, but they are certainly not of the level of John Woo and Ringo Lam. Early violence is gory and to the point; the end battle builds up brilliantly. What stands out most is the use of Peckinpah-esque slow mo cutaways, which make real time go right out of the window. This technique suits the inexorable fates of the three leads, plus it looks really cool.

My Heart is That Eternal Rose is definitely up there on lists of the greatest 80’s Hong Kong movies; because of the fact it is a genre piece that deviates from the template of the numerous Better Tomorrow rip offs made at the time. The visuals are restlessly inspired and plotting is tight and suspenseful, with action occurring at just the right points in the narrative. Patrick Tam’s new wave credentials create an original look and feel to the film, and certainly the crew members on board help this. Criticism can be aimed at the continual reliance on chance and difference in tone of some scenes, but these are minor faults. A mention should also go to the title song, a mournful ballad sung by Joey Wang in the film. Definitely one to buy.

Revenge of the Shaolin Master by Martin

Can anyone name a movie that Yuen Woo Ping is involved in that contains nothing less than superb action choreography? The man’s name was in the 70s Kung fu movie boom synonymous with great martial arts action, and now there is no difference. This reviewer, as a great fan of Yuen and his brothers Yuen Cheung Yan, Yuen Hsin Yee and Yuen Yat Chor, was very surprised and pleased to find out about the film Revenge of the Shaolin Master. A 1978 Taiwanese production, its fight choreographers are credited as Yuen Woo Ping and Yuen Cheung Yan. While this is not surprising in itself as at the time the two brothers were working in Taiwan and Hong Kong together as a team, the main actor cast as lead certainly is. This is none other than Dorian Tan Tao Liang (aka Delon Tan, Delom Tan and my fave variation Delon Tanners) one of the most well-regarded kickers and indeed Martial Artists ever to grace the screen. Tan was peaking at this time, dividing it between Taiwanese and Hong Kong productions, with other classics such as The Hot, The Cool and the Vicious and The Himalayan. The Yuen clan, though yet to begin work on Woo Ping directed movies, were proving their action directing and stuntmen talents to all and sundry with movies such as Born Invincible and Broken Oath. The pairing of choreographers and star set me salivating, and to my fellow Kung Fu movie cohorts I am pleased to say: This one don’t disappoint.

There are few old skool movies whose consistency of action is constant and thrilling. Secret Rivals 2 springs to mind, as does Dance of the Drunk Mantis. Both choreographed by Yuen Woo Ping, of course. Revenge of the Shaolin Master, by virtue of its non-stop high quality action, is in that elite class. The ability to conceive of a plot and narrative that allows for constant action is a tough ask.

As anyone familiar with Hong Kong and Taiwanese cinema of the late 70’s knows, the idea of script re-writes did not cross film-makers minds. In many productions the plot was made up as the shoot went on. This means the action in quality productions grew organically out of the plot, with a feeling of cohesion and outcome of characters actions meaning they must fight. The problem with this is that it can be a hit and miss affair, as plotlines can suffer and formula is relied on. Unfortunately this is the case to an extent with Revenge of the Shaolin Master, but it has the talent on show to rise above it.

The film begins with Tan playing an upright man Lin Chan Hu, who has the task of escorting food and money to refugees across the border, by order of the magistrate. They are ambushed by bandits, and the goods are stolen. The Chief of the town Chi Chu (played by the creepy Choi Wang) comes to the conclusion that Chan Hu has set up the ambush, and he is captured but released for lack of evidence soon after. Meanwhile Chan Hu’s father dies of old age, and an inspector working for Chin Chu, Sha (played by Taiwanese actor/martial artist Chiang Fu Jian) encounters Chan Hu’s sister, Feng Yi (Lau San). It is revealed that Sha and Chan Hu have friends in common in the shape of an old uncle, and the two meet there in the midst of a fight with Chin Chu’s men. Chan Hu is eventually captured again and witnesses the murder of his mother and fianceė by Chin Chu. He escapes thanks to Feng Yi. Chan Hu and Sha discover that Chin Chu and his brother (played by the ever-excellent Lung Fei) were setting up Chan Hu and they are both taken to a desolate beach. They must fight to the death to discover who is the better fighter. Chen Sing’s cameo is at this point, as the Marshall, and what a cameo it is. Watch the shock ending to find out what’s next! The twists and turns of the plot are evident, and at times obvious, but engaging.

Joe Law Chi, a veteran director in the Kung Fu genre, directs the film. He has a reasonable ability to weave plotlines around the action, but his directorial style at times is not suited to the subject matter. The screen seems to go dead at times without the action, and he also directed the roundly derided Invincible Kung Fu Trio, known to be one of the worst Kung Fu films involving major stars ever made. However, there are some nicely framed shots and good uses of crash zooms between cuts and scenes. What really impresses is the way the action is integrated into a complex plot, and the build up of rage which Tan’s character feels reflecting in the fights.

At this time the Yuen clan’s ability to film intricate old skool action was at its peak, and here we get an unbelievable mix of leg techniques, open hand kung fu and weaponry. The rhythm and tempo of the fights is up there with the best, while the editing apart from a couple of shots is not a frame out. Chiang Fu Jian, who plays the inspector, had a short career in movies. His other credits include Thundering Mantis and Shaolin Legend, but here he gets to show off his action chops at an incredibly high level. In his first fight he shows off great arm lock techniques, while in the mid section his spearplay is timed to the second combined with nice legwork, and in the end fight to the death his hand techniques come to the fore with maximum effect. Lau San who plays Tan’s sister also had a short career, with other titles of note including Kung Fu from Beyond the Grave and 18 Bronzegirls From Shaolin (!). Here her martial arts abilities are given a great showcase, and she performs some kick and punch combinations with grace and authority. Choi Wang, a veteran of Shaw Brothers and many other company’s films, is supremely creepy as the main villain and gets a magnificent knock down and drag-out fight with Chiang Fu Jian. To see Chen Sing go into weapon-wielding action with Lung Fei is a joy to behold, if the fight is a little on the short side.

Now to Tan the man. As one of the most prolific performers of the old skool, it is very difficult to pick a best martial arts performance. For me, having seen more than half of his output, this IS his best. Every aspect of his open hand martial artistry is tested to the extreme. In the most complex fight in the film he takes on four spearmen. This scene contains some of the most fancy footwork ever seen on screen, including Tan’s logic-defying ability to keep his left leg of the ground for up to a dozen kicks. The criticism of Tan not using his right leg much is supported by the movie, but in some moves he finishes off the opponent beautifully with his right. The end battle contains powerful examples of his hand forms and exceptional bootwork. In most of his films there is no concentration on his hands, but here we get combinations of them and his legendary legwork. Its all testament to the genius of the Yuen Clan, to make mercurial Martial Arts movies which stand the test of time.

Revenge of the Shaolin Master is exactly what old skool greatness is all about; a movie with an understandable plot and action scenes of the highest quality that never fails to entertain, no matter how many times you watch. The Taiwanese locations are very easy on the eye, especially the opening scenes among the mountains and the ending on a desolate beach surrounded by crags. Despite the soundtrack being typically unoriginal, it adds drama to a number of scenes. The majority of the cast, in Martial Art terms, never looked this good in other productions and Tan the man is at his supreme best. While the Yuen clan and Woo Ping in particular would go on to bigger and better things, in terms of pure choreography this is up there with classics such as Legend of a Fighter. A must for fans of any of the aforementioned persons.

Revenge of the Shaolin Master by Martin

Who is Martin Sandison?

Biography
My name is Martin Sandison. I’m very happy to be part of the HK and cult film news staff, and will do my utmost to spread the word about good (and bad) HK and cult movies. I’m from a small town called Linlithgow in Scotland, which is near the capital, Edinburgh. I‘m 25 years old, and my first cinema-going experience was The Care Bears movie. I’d like to think my tastes have matured somewhat since then. I grew up loving Hong Kong movies from an early age, the first martial arts movie I saw being Enter the Dragon and first HK film Project A. A good start I think you will all attest!

I attended my local secondary school and then moved on to Stirling University and a film and media course. I graduated in 2005 with an honours degree at the second highest level, thanks in the most part to my thesis on Hong Kong cinema. It’s the single piece of work that I’m most proud of, and I loved writing it. The standpoint I took was aesthetic value and cultural context, with films analysed including A Better Tomorrow, Infernal Affairs and Once Upon a Time In China. Since graduating I have worked sporadically on short films and music videos, some self-directed and others as cameraman.

Most of my output is up on Youtube, with camerawork on my friend Scotskid’s music video Sunrise and the short Parkour film Jump, Monk, Jump! Check out my cameo at the start, the bearded guy with green stripey jumper. Scotskid is one of the most viewed directors on Youtube, mainly due to his first Parkour film Extreme game of Tag. My self-directed stuff consists of a trailer for a short Scottish Kung Fu movie called Play and a short romantic tale called Modern Romance. The former stars my Kung Fu teacher and was shot in Edinburgh. I’ve been studying Hung Ga( r ) Kung Fu under him since September ’06, and I love it! Even the intense stance-induced pain. The other guy in the trailer is a teacher I had a few years ago. He unfortunately moved to Australia before we could shoot the film, so we can’t make it unless we go there! However, we are working on another Kung Fu short which I have just finished the script for, so watch this space. To check out the stuff type in Scotskid and Shandalfze, my nickname.

In recent times I’ve been working in an art bookshop, socialising and watching perhaps too many old skool Kung Fu movies, the reviews for some of which you will see on this site. Peace out!

Who is Martin Sandison?

We're back! Martin Reviews Shaolin Plot With Sammo Hung

Once in a while a classic movie crops up that has somehow slipped under the radar, for some unknown reason. One such movie is Shaolin Plot. If you are a dedicated searcher for old skool Kung Fu flicks, you will not be disappointed with this discovery. The personnel involved immediately point it towards the majestic. Directed by Huang Feng in 1977, This was one of the journeyman directors last self directed films. Anyone who is familiar with Sammo Hung's early action choreographer days should know the name Huang Feng. A veteran director who began his career in the late fifties as a writer, Huang turned his hand to Martial arts films in the late sixties with the Angela Mao starrer Lady Whirlwind. At this time Sammo was choreographer extraordinaire, having just worked on King Hu's Palme D'or winning masterpiece A Touch of Zen. Huang Feng took the young Sammo under his wing, and Sammo action directed almost of his output up to 1977 and Shaolin Plot. This series of films are regarded very highly, with many of them breaking new ground for martial arts cinema. Films such as Hapkido and When Taekwondo Strikes introduced new styles of screen fighting, while establishing Angela Mao as the number 1 femme fatale lady warrior.

The Shaolin Plot, while not being as well known as a title such as Hapkido, is certainly up there with them in all departments. The film begins at a good pace, with the evil intent of mastermind baddie Chen Sing put to the fore. A veteran of hundreds of 70's kung fu films, Chen here displays all of his villainous presence alongside his extremely powerful martial artistry. In the opening scenes Sammo's Lama villain is superbly introduced with his penchant for strange weaponry i.e. flying cymbals that decapitate! The plot moves at a breakneck pace at first, with Chen's Chinese general character Dagalen looking to gain access to all martial arts manuals from around China, at whatever cost. Cut to our main hero James Tien as a Wu Tang fighter who attempts to save the Wu Tang manual, but fails and escapes to by chance to a wandering Shaolin Monks home. He is trained in the Shaolin style, With which he can counter Dagalen's attacks. Meanwhile Dagalen attempts to raid Shaolin for the ultimate prize; the Shaolin martial arts manual. Just as he has reached his goal the Wu Tang fighter discovers him, and Dagalen retreats to his palace. Both the Shaolin Monks and the Wu Tang fighter join forces to crush this most cunning of foes.

While the plot contains formulaic elements such as the training of the Wu Tang fighter and the disguise of Dagalen to infiltrate the Shaolin Temple, there are lots of developments and surprises in relation to character. For instance the mid section concentrates on Dagalen and his infiltration of the Shaolin temple and is filmed in an almost pseudo-documentary style; this allows the viewer to relate to the ends to which Dagalen will go to achieve his goal. Dagalen pretends to be deaf and mute and on the run to infiltrate the Temple, and observes the rituals of the monks. Here the audience is invited to identify with Dagalen in his deed, as the presentation is of him adapting to the life of the Monks. While this is intriguing, it is a deviation in tone from the earier and later parts of the film. As Dagalen reveals his disguise the build up of the mid section loses its impetus, as he is presented as the formulaic villain. However, this is an interesting aside to an otherwise familiar approach to old skool Kung Fu. In this part the use of location is superb, with some long tracking shots taking in the Temple buildings. The production values are pretty decent considering the year. The change of pace in the middle and differing style is a bit jarring, especially to those who like their movies fast and furious. However, to those who like their action fast and furious and delivered by the best, this is one to savour.

At this time in his career, Sammo was producing nothing less than faultless old skool action, and this is no exception. The opening battle between Kam Kong as the renegade Monk and Sammo and his minions is superb, with Kam showing off his bootwork to great effect. As the plot progresses Chien Yuet San (always an underrated actor and martial artist) performs superb spearplay backed up by razor sharp editing, while Sammo holds court. After the aforementioned middle section things really hot up, with one name most aficionados will know appearing in his first screen role: Casanova Wong.

This Taekwondo expert was spotted by Sammo and immediately thrust into the limelight. . Anyone who has seen Warriors Two or The Master Strikes can attest to Casanova's boot prowess, but here arguably his greatest work resides. First his combination kicking when fighting Tien is superb, which leads up to the end battle, and then his brief encounter with Sammo ends magnificently.

It is the ending wherein the all star martial cast really get to shine. First Tien battles Dagalen in Tien's best martial art performance ever, but it is up to the two monks Casanova AND Kwon Young Moon to vanquish there foe. This pairing of two of the jade screens greatest kickers does not disappoint, even though Kwon does not perform his usual array of fantastic kicks. That role is left to Casanova, and Sammo obviously knew he was up to the task. In one shot he fires off seven kicks to head and body, lightning fast without his foot touching the ground! Chen Sing's brute force and clinical style is given a supreme showcase, with some of his hand forms reaching very intricate heights. During all of the fights the camerawork is fluid, catching all of the moves superbly. As in most old skoolers it is the long takes which are most important, with up to 30 moves in a take, and Sammo really pushes the casts ablilities to their limit. The editing here adds to the impact immeasurably, with climaxes reached in the action pieced together with superior accuracy. The 70s style sound effects really add to the impact too. In terms of soundtrack there is an unusually good orchestrated score, which in the main has not been used in a thousand movies you've seen before. In the mid section there is some great use of the score, which really adds to the atmosphere.

All in all Shaolin Plot is definitely up there with the best 70's old skool Kung Fu movies, and holds its own against even the best of Sammo Hung's early output, even the masterpiece Magnificent Butcher. It makes for an intersting comparison with Iron Fisted Monk, which was one of the first movies to move away from the po-faced dramatic style of most traditional Kung Fu movies, Shaolin Plot included. Casanova reprises his role in the former film as he battles Sammo in a friendly duel during the credits, while Chen Sing plays a Monk with values at the opposite of his character in Shaolin Plot. Also Chien Yuet San reprises his weapon wielding baddie role. The mid section may split audiences due to its slow pace, but it is an interesting aside juxtaposed with the traditional Kung Fu-ery. All of the cast are on top form, especially Casanova and Chen Sing. While Sammo does not get a huge role here, he really sinks his teeth into it and it is one of his few villainous performances that stand out alongside Broken Oath and Sha Po Lang. This movie lives up to its all star billing, and will not disappoint fans of any of the cast.

DVD review

Company? Hong kong based, there is no English on the box, could be Mei Ah

Box: The cover art is the best thing about this presentation, with some great illustrations and a cool fold out box.

Picture, presentation: Its presented in 235:1 letterboxed version, but is not remastered and the print is pretty aged, but still very watchable

Languages: Cantonese with burnt on English subtitles

We're back! Martin Reviews Shaolin Plot With Sammo Hung