Jumping Ash

1976

Director: Josephine Siao Fong Fong/Leung Po Chi

Starring: Ga Lun, Josephine Siao Fong Fong, Chen Sing, Michael Chan Wai Man, Nick Lam Wei Kei

This incredible little film is a perfect example of how not to judge a book by it's cover. Jumping Ash was one of several dozen Hong Kong vhs rentals courtesy of Ocean Shores that resided in my local video store back in the late 80s. It was also one of the few that I never bothered to rent. The cover seemed bland, the title didn't stand out for me and the modern day setting told me that this film was probably not going to be Fu friendly (which at that juncture was pretty much all that mattered to me). So I ignored it and forgot about it. Then about five years ago, the title was brought up in a very favorable way. I had only a vague memory of it at that point and made it my business to hunt it down (no easy task as it never received a dvd release). Finally getting my hands on a dupe (good luck finding the original vhs at this point), I decided to give it a watch and was so engrossed with it that I watched it again later that same evening. 

Marking the directorial debut of Leung Po Chi with assistance from actress turned part time filmmaker, Josephine Siao (who also doubles here as our main hero's put upon special lady friend), Jumping Ash stars an excellent and charasmatic  Ga Lun as small time detective, Callan Leong ( a cross between Popeye Doyle and Frank Serpico) who's out to bust big time drug kingpin, Tung (an effectively smarmy Nick Lam). Both cop and crimelord find their paths alternately dogged by a pair of killers from Amsterdam (the ever welcome pairing of old school martial art heavies Michael Chan and Chen Sing), the former hired to protect Tung while the latter looking to relieve him of his goods. When Callan ultimately oversteps his bounds and finds himself relieved of his duties, an unexpected alliance is formed...

Released in 1976, Jumping Ash has the look and feel of it's time period and yet it conversely features a frantic, off the cuff filming style that would not be found in Hong Kong cinema until the following decade. Despite it's low budget and depressing natural scenery, this film jumps right out at you from the get-go. It's quite obvious that what we're watching here is a group of young and talented  filmmakers who were truly looking to make something special and different. To that end, they succeeded admirably and then some. There is barely a slow or wasted moment during it's ninety-odd minutes and you truly feel as though you are privy to an actual police procedure. This is in part, due to the fact that the story itself is largely ripped right off the Hong Kong headlines lending the pic a welcomed unhealthy and downright dangerous atmosphere throughout. Even when the film bravely ventures into comedic episodes (the scene with the hooker is a riot and wait until you see where Callan decides to stash his new found Amsterdam ally), it somehow rings utterly true in spite of itself. Inspired work by all involved.

Complete with a quirky music score (one which led to a hit album, no less), Jumping Ash became a sensation in it's native land where it went on to become the highest grossing action film of the year. This is a film designed to appeal to the locals but it is such a pitch perfect and sure handed vehicle that it could be appreciated by anyone who's a fan of superior action movie making. A must-see.

Rating: 10/10

                                                       

Dragon and Tiger Joint Hands

1973

 Director: Yueng Jing Chan

Starring: Anthony Chan Keung, Shut Chung Tin, Cheung Kam, Hsieh Hsing, Jack Long Sai Ga

After being rescued from the hangman's noose for a crime unbefitting the punishment, Chinh Hsiang (Anthony Chan Keung) returns to his village home after a three year absence. There he discovers local bully turned tyrant, Tien Pioa in league with the Japanese and bleeding the poor farmers for all they possess. At first Chihn refuses to help fearing it would merely cause more problems. However, the killing of his school's teacher (Jack Long) ultimately causes him to rethink his stance. 

This is a solid Basher containing characters and plot points that are brought into sharper and more detailed focus than one is accustomed to seeing in these films. Director Yeung Jing Chan (who doubled as producer here and whose few credits span the entire spectrum of the Hong Kong action biz, ending with 1992's Gambling Ghosts Are Ready) does well to keep the material feeling fresh. This type of story has been told countless times before, but rarely was I as caught up in the characters' plights as I was here. Unfortunately, it couldn't quite sustain it's tension and by the final reels, it felt like a bit of a stretch (Chinh ultimately takes what feels like an exorbitant amount of time before deciding to go into action). But that is forgiven when faced with some of the best fight action of this period. All of the many battles are quite exciting and unpredictable (always a plus with these things) and build well up until the finale which is particularly vicious. 

All in all, Dragon and Tiger Joint Hands is a well done little spitfire of a film with good work put in by all involved. Old School Fu fans in particular will enjoy watching a young Jack Long in pre-Seven Grandmasters style punch and kick action.

Rating: 7/10

Two Toothless Tigers

1980

Director: Sammo Hung

Starring: Sammo Hung, Yuen Shun Yee, Wang Lung Wei,  Chung Fat, Lee Hoi San

I've always said that I can enjoy or at least bare with a bad Hong Kong movie as long as the action is good. Sammo Hung has done several that fit into this category (the Lucky Stars films immediately come to mind), but never has there been a more extreme example of this than the awkward and downright dull Two Toothless Tigers... which just happens to contain some of the finest fight footage ever filmed.

The plot of this surprisingly disinteresting caper centers around restaurant owner, Pao (Sammo) and his dimwitted nephew, Ah Chin (Yuen Shun Yee).Chin it seems, is not in tune with the ways of the world and through his naivete (to put it politely) continuously gets himself in trouble with the local thugs. Attempting to impress a gang with his cooking talents, he instead unwittingly insults one of the lower ranks. Trying to make peace, Chin is tricked into trashing an antiques shop and finds himself owing much financial compensation and facing jail time as a result. As a solution to this little problem, he gets himself involved with a scheme to procure a treasure map from a vicious criminal...

While the basic plot is a flimsy shaggy dog-type deal, it is certainly workable enough to create some magic considering the amount of talent involved. That the end result is as uninspiring as it is, is surprising to say the least. I've watched this film twice all the way through (the second time in preparation for this review) and I'll be damned if I can remember some of the tired shenanigans that go on in the first half. This is flat filmmmaking, plain and simple. Luckily, the picture is somewhat rescued (by my account, anyway) by several insanely great martial arts bouts. After being lulled to a near comatose state throughout the first fifty-odd minutes, these fights are a truly jolting shot of adrenaline. I can't emphasize enough how amzing these bouts are, even by Sammo's normally sky high standards. The highlight here may be the prelim bout between bad guys Wang Lung Wei and Chung Fat. This brief, but explosive bout ranks as one of the finest and most breathtaking ever (yes EVER) and the others rank close behind. To say it's a shame that there weren't a few more of these populating the pic would be a tremendous understatment.

Ultimately, Two Toothless Tigers tried very hard to get me to dislike it, but the mind blowing battles that populate it's second half prevented me from doing so... if only just barely.

Rating: 5/10

                           

Vengeance Is Mine

 

1997

Director: Lam Chin Wai

Starring: Yukari Oshima, Ben Ng Ngai Cheung, Lung Fong, Pai Ying

Here's a fairly slow paced and incredibly cheaply made production that was shot on videotape (ugh!) and intended as either a direct to video release or possibly made for t.v. (the HKMDB lists it as the latter). Sounds pretty lousy, I know. So, why would anyone be interested in watching it? The answer, because it stars Yukari Oshima. Yes STARS Yukari Oshima as in The Osh finally gets the lead role all to herself after years of taking secondary (or even lesser) roles in so very many films. And this little cheapie flick proves what we die hard Yukari fans had long suspected, that our heroine could not only carry an entire production all by her lonesome, but would be as compelling as any screen actor or actress around in doing so. 

 Once you get past the terrible look and casual pacing of the film, you will discover a tour de force Osh performance, one written to allow her to transform from innocent victim to murderous avenger. Yukari portrays Angel Lee, a newly married Asian American who finds her blissful honeymoon interrupted by five masked thieves. They murder her husband in front of her and then take turns raping her (the camera carefully concentrating on Osh's ever expressive eyes and clenched fists, allowing the viewer to experience the pain and horror along with her). Now all but dead inside, Angel sets about finding her assailants. Initially agreeing to help the police in their investigation, Angel grows increasingly bitter and desperate as the years go by without a single lead. All the time staying put eerily at her dead husband's residence, Angel finally decides enough is enough. Training herself in various forms of self defense, she slowly goes from rumpled and sad victim to ultimately striking looking avenging... well, angel. Tracking down her assailants, she discovers they are now all doing very well for themselves as rich businessmen through their ill gotten gains. Attaining assistance from her sister in law, an aspiring model and actress who's been lured into the seedy world of porn filmmaking coincidentally by one of Angel's attackers, our avenger goes into action. In ever increasing brutality, she gorily shoots and stabs her way through the ranks of each now well to do enemy. During this process, it is clear that Angel has "come back to life", her pained expressions giving way to the kind of cold, yet wildly determined stares that only Yukari can convey. The police chief feeling sorry for her plight, decides to briefly look the other way while gently trying to persuade her to hand over the evidence she gathered (and that they infuriatingly could not), but she refuses. By the time Angel shows up at the head baddie's estate, she is clad in black and looking like the baddest little lady on the face of the earth.

Again, it really is a shame that the choice was made to film this on videotape as it contains one of the awesome Osh's finest and most majestic roles. The action itself is only second rate (perhaps the biggest casualty of the absence of nitrate), but Yukari's amazing intensity here easily makes up for it. Appearing in nearly every scene, this film allows her the most screen time of her career (the only other film I can think of where she takes the loan lead is the 1991 drama, The Angels which annoyingly enough, was also shot on video!) and will have fans lamenting that she wasn't given more opportunities like this throughout her nearly seventy (!) film career.

Rating: 7/10

It's Now or Never

1992

Director" Chan Kwok Hei

Starring: Sharla Cheung Man,  Alfred Cheung, Cynthia Khan, Ng Man Tat

It's Now or Never is one of the hidden gems of Hong Kong cinema. Many outside it's country of origin have not heard of this wonderful oddity. I got my first and only exposure to this title via the fun genre book, "Sex and Zen and a Bullet in the Head". Penned in 1997 by Stefan Hammond and Mike Wilkins, it largely covered ground that most hard core buffs were already familiar with (if even just recently so in some cases). This movie however, was an exception and after finally viewing it, it's easy to understand why this bit of craziness was so championed by the authors.

The film opens with a bang, Over the driving beat of The Surfaris' Wipeout, we are introduced to a gang of early 1960s-style Teddy Girls led by Rose (Cheung Man) and her little sis, Tracy (Rain Lau). Always looking for trouble (of course), this lot frequently finds it. In this instance, they start a major brawl at a dance over boyfriend thievery.Hauled off to jail, they are quickly bailed out by Rose's father, Wong Tat (Ng Man Tat) who puts on a sob story for the ages that reduces many of the cops to tears. As we soon learn however, Wong is no martyr. On the contrary, he is quite the gigolo who often entertains his clients in his own bedroom... with his daughters in the next room no less. The girl gang draws the ire of a tough, vindictive policewoman (Chan Hui Ying) who has made it her business to shadow their every move. Rose in the meantime, has caught the eye of nerdy, lovesick cop, Shing (Alfred Cheung). The real trouble however comes in the form of Loan Shark Wong (Wong Chi Keung)  who on the behest of a jilted client, means to shake down gigalo papa Wong over mucho unpaid bills. In a bid to help Daddy Dearest, Rose enlists the smitten Shing while offering herself to the shy mama's boy as gratitiude.

It's Now or Never is that rarest of animals; a perfectly realized black comedy from Hong Kong. Director Chan Kwak Hei takes what would otherwise be thoroughly repellant material and manages to brilliantly weave a lightning fast satire that's as subtly hilarious as it is fun and exciting to watch.There is nary a false note to be found anywhere. Chan's nutty masterpiece has been compared to the works of John Waters (which appears to be the main influence here), but it manages to connect it's dark humor with it's strong entertainment value more effectively (and yes, subtly) than Waters has ever manged.

The cast as well, are all note-perfect. The gorgeous Cheung Man (Sharla Cheung) is an actress I'm familiar with, but have not been overly exposed to. This was due to her appearances in films that I wasn't too terribly interested in (early Stephen Chow comedies, various gangster melodramas). Seeing her in this movie is something of a revelation. Filmed in loving closeup, Cheung's Rose is one of the great ice queens; heartless and conniving, the character is ultimately softened (somewhat) by the selflessness of her would-be suitor. Ng Man Tat has appeared in so many comedies during this period (he was a regular sidekick in the aforementioned Stephen Chow pics), that he must have been one of the most in demand character actors in the industry. He is at his loathsome, scene stealing best here and it's to his credit and the film's that you feel some measure of sympathy toward this morally bankrupt character. Playing Little Bun, Rose's closest ally, Cynthia Khan gets to take a break from her action diva status and nearly steals the film. Playing against type as a wimpy, man hungry gang member, Khan is a riot as she attempts to get out of various fights by threatening to use her deadly Eagle Claw Kung Fu and getting her lovely rear end handed to her in each instance. It is no coincindence that she finally reveals her inner courage against a man as she applies her Eagle Claw to the groin (all that's missing is a shot of two eggs cracking as in the classic Fu feature, Invincible Armor).

It's a crime that a film as striking and original as It's Now or Never has yet to receive a dvd release (laserdisc and vcd only). It truly is a lost gem of a film that deserves rediscovering.

Rating: 8/10

and the trailer is pretty amazing, too...

Champion Operation

1986

Director: Lau Hing Chuen

Starring: Suen Kwok Ming,  Tang Ho Kwong, Norman Tsiu Siu Keung

 First saw this little spitfire of a film back in 1990 on an Ocean Shores vhs dupe (dubbed in English, no less) and I wasn't overly impressed with it. At that time, I was so enamored with the John Woo romantic slo-mo style of gun action that I just couldn't adjust to this type of thing which bore more of a resemblance to Johnny Mak's groundbreaking 1984 exercise in cold, gritty realism, Long Arm of the Law (a film I hadn't yet seen). It was a case of one-and-done. I stashed the thing away, forgot about it and eventually lost it (an unintentional casualty of my vhs purge of about ten years ago when I needed space just to walk around in my bedroom). Having gotten ahold of another copy recently, I now realize that sometimes when it comes to watching genre films, timing can be everything.

This tale of a running battle between cops, high profile gangsters and low profile Mainland immigrant criminals may be of slight budget (nowhere more apparent than in an early boat explosion that was quite obviously lifted from another film; reminding me of many a no-budget Turkish action epic from this period) and contains the absolute cheapest, cheesiest english credit sequence I have ever seen in a movie, but it has guts and energy to spare. Though the action comes fairly infrequently when it does come, it never ceases to shock and amaze. To wit; a mid-film police raid that feels almost hysterically out of control, a sudden and very nasty broken bottle shoved into a happless femme's face, several stunning chases including an extended car stunt which rivals anything done in the 80s (yes, Jackie Chan insanity included), solid 80s-style fight scenes (though not enough of these for my liking) and a properly explosive finale where no one is spared. In other words, when it's on, it's on.

It's interesting to see Suen Kwok Ming and Tang Ho Kwong together as they look so much alike that they could have switched characters mid-film and I may not have noticed right away. Both give energetic perfs and have just enough charisma to keep you interested in the proceedings when the action lets up. Norman Tsui however, is wasted in the role of the Godfather-like crime lord. I kept waiting for him to spring into action (something, anything), but his role is limited to essentially deep thoughts and heavy coughs. That's about it. His appearance alone is enough to give the character the proper amount of weight, but it really is opportunity lost, here.

Despite it's shortcomings which includes an extremely confusing final shot (did the events in the movie actually take place or was it being watched on T.V.? Huh???), Champion Operation shapes up as a grungy good time for the undemanding fan of Hong Kong action during it's peak period.

Rating: 7/10

Techno Warriors

1997

Director: Phillip Ko Fei

Starring: Darren Shahlavi, Kwang-su Lee, Monsour Del Rosario, Tamara Guo, Winston Ellis

I nearly didn't bother with this movie. About a year ago, I tracked down a 1999 sci fi/action film called Digital Warriors (aka Lethal Combat) soley because it featured Yukari Oshima (in case I haven't made it abundantly clear in this blog, absolutely anything that features The Osh is a must-see). Well that film turned out to be a turgid little mess as are most films directed by Phillip Ko. The best scenes (other than Yukari's) I later found, were actually lifted from an earlier film called Techno Warriors. Since that film was also directed by Ko and doesn't feature Yukari, I initially had zero interest in seeing it. Still, that swiped footage WAS entertaining and when a trailer finally popped up on Youtube, I decided to ignore my gut and check it out. As it turned out, that was a good move as Techno Warriors surprisingly wound up providing me with big time low budget fun. 

An inversion of Tron by way (visually) of those wonderfully cheesey low budget Italian Mad Max ripoffs of the previous decade, our story tells of a group of outlaw techno warriors (with names like Black Ninja and Dinosaur) fighting in the video game realm. They are anti technology (for whatever reason) and are hunted by high tech police. The techno warriors' goal ultimately is to kidnap a nerdy video game player and take him to their realm. Since he is able to consistently defeat them in the gaming world, they want to probe the secret of his gaming skills to control the gaming network... or something close to that.

The plot is about as irrelevant as it gets. Shot in the Phillipines, the purpose of this fun flick is to show off as many battles in as many exotic locales as could be found and to that end, it works quite wonderously. This film is exactly what the disappointing Mortal Kombat series should have been. In fact, it may be the best realized video game film ever made. The low budget (which includes minimalistic costumes and cheap laser effects) actually adds a level of wide eyed innocent charm that more expensive CGI enhanced epics can't begin to grasp. The group of fighter/acters (led by the talented Darren Shahlavi, going against type as the main hero) give it their all without a hint of self concious parody. They treat the material seriously and the film benefits greatly from it.

By far the best thing Ko has ever done as a director, Techno Warriors is pure untaxing entertainment and a joy to watch.

Rating: 8/10

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Big Land Flying Eagles

1978

Director: Ulysses Au Yeung

Starring: Wong Goon Hung (Champ Wang), Lin Yung, Paul Chang Chung, Shi Feng

 Here we have an interesting, well crafted and visually unique wuxia film.

The complicated plot centers on traveling swordsman supreme, Xiao Fong ( the awesomely labeled Champ Wang). Xiao killed the son of local warlord, Lee Sang. Lee was charged with the delivery of 3,000,000 in gold which has mysteriously vanished. Lee marks Xiao for death, but Xiao finds himself in an unlikely alliance with another reputable swordsman, Killer Eagle as well as a band of traveling Mongolian warrior/traders. Despite his target's new found comrades, Lee sends all manner of esoteric assassins out after him. Xiao for his part, gets involved with a mysterious woman who has manged to make many an enemy in her own right.

I'll admit that I've not seen as many classic wuxia movies as I have other types of Chinese martial arts/action films. Part of the reason is that many of the ones that I have seen tended to be overly complex and narratively confusing, at least to this Westerner.  'Big Land Flying Eagles' could easily have succomed to these same problems, but thanks to some sharp direction from Ulysses Au Yeung (a favorite independent 70s director responsible for several gems, most notably the previously reviewed 'Thou Shall Not Kill... But Once), I had little problem dissecting the complex story and characters. This is also one of the most visually striking martial arts films I've seen from this period. Shot entirely in the desert, the film creates an epic feel in spite of it's low budget. Almost a kind of 'Lawrence of Arabia'-lite (O.K. extremely lite). It's very pleasing to the eyes and creates a wonderful semi-surreal atmosphere throughout. It's quite a quirkily plotted film as well, including one of the most strikingly bizarre dramatic sequences to be found in any genre film; Xiao Fong and his mysterious squeeze are hiding out in a deserted shack when they find themselves surrounded by Lee Sang's gang. Xiao realizes that since he killed Lee's son, Lee wants the two young lovers to procriate (as in right there in the shack) and will wait one year for their child to be born and then have it killed in order to exact revenge. The shack is then ripped down by the unseen assassins so that they could see what they're doing! Xiao and the woman do not react to their sudden lack of shack. They continue to lie there in the night time forest and smile at the silliness of this failed plan. It plays just as outrageously matter-of-fact as it reads.

Featuring a terrific action sequence finale, 'Big Land Flying Eagles' is a wonderful min-epic of 70s martial arts cinema and comes highly recommended.

Rating: 9/10

Marked for Murder

1994

Director: Lee Chiu, Tenky Tin Kai Man

Starring: David Lam Wai, Ben Lam Kwok Bun, Liang Chia Jen

This appears to be a peace offering from Hong Kong to the Mainland due to the up and coming change of ownership. Judging by the several unfamiliar faces and two directors, this may even be a Hong Kong/Mainland co-production. Whatever the case may be, it's a little seen pic that combines unfortunate and unnecessary comedic characters with some of the most blistering 80s style action to be had in the 90s.

A bank employee witnesses the murder of his boss at the hands of a powerful Yakuza gang and it's nearly invincible leader (Ben Lam). On the run, he is guarded by a male and female member of a Mainland Task Force who in turn, must cooperate with a bumbling Hong Kong detective (David Lam).

Assuming that this production is indeed Hong Kong's attempt to make nice with China, then it represents a fair amount of overkill in that department. The two Mainland operatives are portrayed as calm, smooth and highly efficient while their H.K. counterpart (the usually reliable David Lam who is miscast here) is in the words of his superior, kind of dumb. That he has also an annoying, shrewish wife certaintly doesn't help matters. In fact, when said wife is ultimately kidnapped by the Yakuza, I was hoping that would be the last we heard of the character (no such luck). The goofiness also extends to our hero's superior/ brother in-law (a thankless non-fighting role for "Beardy" Liang Chia Jen who perhaps tellingly, is clean shaven for the role). Is is a credit to both Lam and Liang that their characters still manage to retain their charm and likeability (if less so, their dignity) throughout. Always relaible Ben Lam is suitably menacing and imposing as the head Yakuza.

Despite the uneven treatment of it's characters, the film really comes alive when it counts in the spectacular and plentiful action scenes. After personally suffering several years worth of wire fu films, 1994 turned out to be quite a renaissance in the stay on the ground and fight department. So fantastic is the action here that I can forgive much (but not all) of what goes on in between. There are others who might be less forgiving.

Rating: 5/10

 

A Punch to Revenge

1989

Director: Lee Chiu

Starring: Ben Lam, Yukari Oshima, Eddy Ko, Chan Ging

Along with 'Close Escape' (reviewed elsewhere in this blog), this was another early Yukari Oshima vehicle I first rented at a Korean-owned store, circa 1990. Yet unlike the previous film, my memories of this one were not as sharp. Perhaps it was the melodramatic story (compounded with the expected giant Korean subtitles which obscured the english ones) that turned me off. Or perhaps it was that The Osh was not involved in the finale (hopefully that isn't too big of a spoiler) or maybe that my brain was on overload with this stuff at that point. Whatever the reason, I was pretty dismissive of this one at the time. It wasn't until I nabbed a better print a few years back (with legible subs) that I was finally able to appreciate 'A Punch to Revenge' and now consider it one of the better examples of late '80s HK action.

Fan (Yukari) is a HK social worker (!) who's client, Tsang (Eddy Ko) is a cripple who lives a humiliating life with his wife who must loan herself out as a prostitute in order to pay the bills. In an attempt to better this situation, Tsang enlists his cousin and three cohorts from the Mainland to work for notorious ex-HK detective Ma (Chan Ging). They commit a jewel heist, but are double crossed by their would-be employer. Sergent Lee (Ben Lam) once Ma's protege, investigates and a chance meeting (and subsequent romantic involvement) with Fan provides an unexpected break in the case.

 One of the the things that really struck me about 'A Punch to Revenge' (honestly, no pun intended) was it's utter unpredictability. Although it essentially revolves around it's two leads, this is an ensemble piece; one with layers of characters (particularly villains) who's importance seemingly are always on the increase or decrease as the film's lucid story unfolds. More often than not, this sort of thing yields murky and unfocused results so on the occasion where it's done correctly, it's all the more rewarding. The film is not exactly action packed but when the action does come, it is intensely gritty and nasty. In each skirmish, the outcome is always in doubt, making for some of the more white knuckled moments the genre has seen. The gore filled finale in particular, is about as uncomfortable (and yes, unpredictable) as it gets.

In the unlikely role of Fan the ass kicking social worker, Yukari Oshima is allowed one of her meatier roles. This was an attempt at softening her image a bit and she proved more than up to the challenge. The Osh displays genuine sweetness and vulnerability heretofore unseen in her previous work. It's also significant that of her three excellently staged fight scenes, only one (where she angrily trashes Ma's office and everyone in it) did she truly prevail and this allows a genuine concern for her character's well being throughout (though that said, there is nothing I enjoy watching more than my fave femme fighter in total control, mopping the floor with any and all wood-be opponents). Taking the lead in the film is the always reliable Ben Lam. An impressive kickboxer, Lam has been consistently effective whether playing Moon Lee's naive boyfriend in 'Dreaming the Reality' or as Stephan Chow's nearly indestructible rival in 'Love on Delivery' (to name just two). Here as the reckless police chief, he displays a quietly commanding demeaner and plays quite well off Yukari. They actually make for a charming and believable couple, here. Eddy Ko is also quite good in the sympathetic role of  Tsang who must endure his wife sleeping with clients for money (in their own apartment yet!) as well as the burden of caring for a severely retarded child (shockingly played by a  young boy obviously stricken in real life with cerebral paulsey). That such potentially heavy melodrama is handled so delicately and with such a casual lack of sentimenatality is a credit to director Lee Chiu who managed to avoid such potential pitfalls. This is an action film first and foremost and Chiu thankfully never lost sight of that.

Rating: 8/10

Zen Master 6

1987

Director: Lo Lieh

Starring: Suen Gin Ming, Meng Chuan Sheng, Lok Yun, Fang Hua, Diang Wing,

I have always been a great admirer of Lo Lieh. One of the best and most dependable screen villains in the history of Hong Kong cinema (he was afterall among many other things, the original white haired villain, Pai Mei), it is extremely ironic that most viewers here in the West were first introduced the intense Indonesia native in the classic King Boxer (5 Fingers of Death) where he played the righteous and chaste hero. His list of screen credits is astonishingly long and varied, nearly encapsulating the whole of the genre itself. Not nearly so impressive is his scant list of directing credts. Starting with 1973's 'Devil and Angel', Lo has a mere nine titles in a twenty year span. This includes the cult favorite, 'Clan of the White Lotus for the Shaw Bros. and the curious brain horror flick, 'The Black Magic With Buddha. In 1987 he delivered his best effort, 'Zen Master 6'; a Hong Kong/Mainland co-production that melds the best of both territories.

In the film, the Abbott of Shaolin is dying and must name a successor among his young disciples. The short-tempered San Sau (Meng Chuan Sheng) seems the favorite, but the Abbott chooses the  more thoughtful Wai Nam (Suen Gin Ming) and sends his prized pupil out to find enlightenment. The furious San Sau recklessly sends his brothers out to track him down. Meranwhile on his travels, Wai meets a potential love interest (Lok Yun) and helps a small costal village fend off invading pirates.

I had very limited info on this rarity (what little I had heard was positive) so I approached it with cautious optimism. What I came away with was one of the best Shaolin films I'd ever had the pleasure of watching.  While hardly original (it's basic story right down to the outcome of it's proposed love story was lifted wholesale from 'The Shaolin Temple' starring Jet Lee), never have all the familiar elements come together quite so sharply as here. From the strong, understated performances to the swift and assured pacing (particularly in the oddly placed, yet totally agreeable pirate segment) to the excellent, creative, state of the art fight choreography, there is nary a false note struck through any of it's economic 93 min running time. The finale in particular where Wai Nam and San Sau settle their differences once and for all, is one of the best and most satisfying one on one duels in all of kung fu cinema.

'Zen Master 6' was obviously a labor of love for Lo Lieh (he also produced the epic) and it payed off with a derivitaive, yet thunderously satisfying  martial arts epic that has thus far gone criminally underseen.

Rating: 8/10

 

The Magnificent 3

1979

Director: Men Yu Ting

Starring: Yasuaki Kurata, Tony Poon, Tadashi Yamashita, Luk Chuen

After getting into a brawl in a Discotech in Dominica, three strangers; a Japanese tourist (Yasuaki Kurata), a Chinese resteraunt worker (Tony Poon) and an American (!) painter (Tadashi Yamashita)  find themselves thrown in jail together and left to rot there. Just when things seem their grimmest, the three are released, their bonds posted by an ex Army General. His intention is to put their supreme fighting skills to use against his famaly's black sheep, a powerful mafioso who employs top fighters from all over the world as protection.

This extremely quirky and mostly lighthearted curiosity is credited to one Men Yu Ting, a name I'm personally unfamiliar with and have found no info on whatsoever. This appears to be his lone directorial work, though he may well be an alias for longtime action choreographer Luk Chen. Either way, this is one fun and funky little martial arts flick. Though ultimately the storyline is revealed to be simplistic, I was really taken aback by the film's successful attempts at breaking from tradition. Of the three main leads, two are Japanese which is unheard of for a Chinese action movie of this vintage. It was a real blast to see Yasuaki Kurata and Tadashi Yamashita (here billed under his alter ego, Bronson Lee) in such unusual surroundings (Dominica?!) and able to yuck it up when called upon (the sequence where they go undercover dressed as cleaning ladies is a howler). Tony Poon lives up to his billing as "Kung Fu's hidden treasure". He fights not unlike Bruce Liang (a regular Kurata co-star) and this is a good thing as his spinning kicks and acrobatic antics are a lot of fun and nicely counterbalance the other two's karate style moves.

Other than the discotech (?!) brawl, most of the fighting is saved for the second half. After the henchmen are systematically taken care of (including a pair on roller skates!), we get to the tournament style battles, all against American opponents. After defeating in one-on-one bouts the likes of "Full Contact Karate Fighter from California, Alan Colavito" (Poon defeats him), "U.S. Full Contact Karate Champion, Howard Jackson" (Yamashita dispatches him) and the decidely goofy antics of "Full Combat Karate and Tae Kwan Do Fighter from Los Angelas, "Richard Kenton" (Kurata defeats him... after figuring out just what the hell kind of fighting style he's using), our three heroes must face the ultimate challenge, the Hercules-like "Mr. America, Nathan Le Blanc III" in an announced battle to the death. In each instance, the choreography is excellent, some of the best and most exciting (and again, most unusual) I've seen from this time period.

Another thing I really enjoyed was the surprisingly straight forward approach used in relation to the heroes' employer. I kept waiting for the other shoe to drop. I fully expected some sort of evil doings on his part that would cause the three to turn against him or perhaps the General would attempt to dispose of them once the job is finished, but no such hackneyed plot device was forthcoming. He grew to genuinely care for their well being and even goes as far as to ask them not to accept the final challenge for fear of one or more of them getting killed on his behalf! After watching so many cynical and downbeat martial arts films, I found this approach refreshing.

'The Magnificent 3' turned out to be one of the most pleasant surprises I've had in a while. Though it's  low budget is sometimes a hindrance, it's unique setting combined with it's most unusual combat (and combatants) make for extremely agreeable viewing. It's quickly become a favorite and one that I'm sure I'll be revisiting often.

Rating: 7/10

Men From The Gutter

1983

Director: Lam Nai Choi

Satrring: Jason Pai Piao, Wong Yung, Lo Mang, Michael Miu Kiu Wai, Chen Pei Hsi

This is an early effort from noted director Lam Nai Choi (he who lensed many Hong Kong cult favorites such as The Seventh Curse, Killer's Nocturne and the now legendary Story of Ricky) and while it may not feature the sheer outrageousness that dominated his later work, it is still quite an eye opening piece of late period Shaw Brothers action.

Racing ahead at full throttle, 'Men From The Gutter' features no less than three seperate and somewhat disparate storylines. We are first introduced to a trio of down on their luck ex-cons (one with a pregnant girlfriend in tow) who are planning an armored truck heist. Our second group of protagonists are an on-edge police unit and their attempts to take down a druglord. Our third participant is an assassin (Jason Pai Piao) who is returning to settle a score with an old rival.

Director Lam even at this early stage in his career (this I believe was only his third film) displayed his fearlessness at trying something different. That we have intertwinding stories is not unusual, but how little they are actually intertwined certaintly is (one of our three scenarios ends early on and is barely reated upon). That we never once feel as though we are watching separate films (ala Godfrey Ho cut and paste epics) is a real tribute to Lam's skills. Everything feels organic, assured and correct. Lam also shows here that he was already a master of brutal carnage. As with his later entries (particularly Killer's Nocturne) you really feel it when the action comes. The early squash match between Pai Piao and the ever dangerous looking Lee Hoi Sang is positively wince inducing.

Among the cast, Jason Pai Piao gives one of the most subtle yet intense oerformances of his lengthy career. 'Venom' fave Lo Mang is always entertaining and his perf as a hot headed cop siuts him well. As the pregnant girlfriend, I barely recognized Chen Pei Hsi. So memorable as the mata hari-like female ninja in the previous year's 'Five Element Ninja' (aka Super Ninjas), she has sadly little to do here. It seems her career never took off after such a promising start.

As with 'Hong Kong Godfather' (reviewed earlier in this blog), 'Men From the Gutter' proves that the mighty Shaw Brothers were both willing and able to keep up with their contemporaries who were leading the way in the modern action uprising in the '80s. That such a strong an entry as this was virtually ignored upon release was a greater crime than any committed within it's reels.

Rating: 8/10

Fantasy Mission Force

1982

Director: Chu Yen Ping

Starring: Jimmy Wang Yu, Jackie Chan, Bridgette Lin, Chang Ling, Adam Cheng

Yes, I am a fan of 'Fantasy Mission Force' and I'm not afraid to admit it. I wasn't always quite so enamored with it, though. I first rented this on vhs way back in 1987. With no point of reference whatsoever, I was unprepared for the unprecedented whackiness that I was about to experience and I immediately rejected what I was watching. It wasn't until years later when I familiarized myself with the cockeyed visions of director Chu Yen Ping that I revisited this film. Seeing it again through more educated orbs, I was able to appreciate the extreme fun that this and the director's other films brought

Near as I can tell, the film is set somewhere between the late 1930s to early 40s; Japan is attempting to take over the world and the united forces are... well, trying to stop them. When four top Chinese generals are taken hostage, a small ragtag group of mercenary soldiers are gathered as a commando squad under the leadership of Captain Don Wen (Wang Yu) and sent on a suicide rescue mission. Wen is gunned down, but the rest decide to continue the mission with the aid of ex-wrestler, Sammy (Jackie Chan) and his former manager, Emily (Chang Ling) who basically tail the group and intervene when necessary. However as things unwind, all is definately not as it seems...

The above plot synopsis does zero justice in revealing what an utterly bizarre experience 'Fantasy Mission Force' is. As with Chen's previous work (Island Warriors, Golden Queens Commando, Pink Force Commando), he presents material that seems to come out of someone's lucid dream. We have characters that don't seem to be acting in the same film, a bizarre musical number, ghosts and other such things that seem to be thrown in at the director's whim. And just when you think you have the extreme goofiness figured out, Chen pulls a major switcharoo by throwing in a dead serious and downbeat finale. That he makes the proceedings so entertaining is a tribute to his directorial clarity. As crazy as it all is, it is also quite clear that the man has a vision mapped out and sees it through to it's (il)logical conclusion.

Though top billed, Jackie Chan's role is really little more than a glorified cameo, amounting to about as much screen time as he had in Sammo Hung's 'Lucky Stars' features. Reportedly, he appeared in the film as a favor to Wang Yu who was instrumental in keeping the Triads away early in his career (he would do so again a decade later in Island of Fire). He and Chang Ling's characters' floating in and out of the film is no odder than anything else that goes on here. Wang Yu is typically tough in the role of the sqaud's leader. His final battle with Chan (at the risk of giving away the film's spoiler here), is gritty and intense, far more satisfying than their previous duel in 'Killer Meteors'. Bridgette Lin Ching Hsia is always a welcome addition, though she has far less to do here than in Chu's two '...Commando' films. Chang Ling is as always. spunky and endearing and does well as Chan's manager/partner.

'Fantasy Mission Force' may not be quite as endearing as 'Golden Queens Commando' or 'Pink Force Commando' and should not be seen as a Jackie Chan vehicle (lessen learned), But if viewed in the right frame of mind (and with prior knowledge of Chu Yen Ping being an essential tool), then you will find it's pleasures to be many and varied.

Rating: 6/10

  

Odd Couple (aka Eternal Conflict)

1979

Director: Liu Chia Yung

Starring: Sammo Hung, Liu Chia Yung, Liang Chia Jen, Dean Shek, Mars

Easily one of the best kung fu comedies of the late '70s, it's also one of the cleverest that I have ever seen.

Two aging kung fu masters, The King of Sabres (Sammo Hung) and The King of Spears (Liu Chia Yung) have a yearly encounter to decide who is the er, greatest in all the land. Unfortunately for them, each duel ends in a draw. After years and years of this, the two of them decide to recruit and train young pupils to continue the battle for them. In a brilliant move, Liu's student is played by Sammo and Sammo's by Liu. After rigorous (and largely unappreciated) training, the two students prepare to face off, only to be kidnapped by a gang led by Old Yellow Dog (Liang Chia Jen). Seems Old Yeller (sorry, couldn't resist) was previously defeated by both 'Sabres' and 'Spears' and has been looking to get even with them ever since.

Starting with 1977's 'He Has Nothing But Kung Fu', Liu Chia Yung has proved to be an excellent director of kung fu comedies. He never quite reached the level of excellence in this department as his older brother Liu Chia Liang, but he was able to carve quite a niche for himself in his own right. 'Odd Couple' is one of his best, maybe his very best. It is one of the few from this time period that can stand alongside the work of his elder sibbling as well as those directed by Sammo himself (the film to be honest, more resembles Sammo's work than Liu's causing me to question if this weren't actually a joint directing job), not to mention those of Jackie Chan.

Both Sammo and Liu look to be having the time of their lives here. The enthusiasm each shows in their dual roles is infectious and permeates the entire production (though it must have caused some major headaches for the editor when 'all four' of their characters are required to share the same sequence). Liang Chia Jen is intimidating as the scarred (both externally and internally) villain, showing he can play this type of role with equal intensity to his more common heroic turns. If you're looking for a sour note here, then look no further than Dean Shek. Watching Shek is akin to sitting through a Jim Carey comedy. You realize that the talent's there, but he plays each of his comedic roles so far over the top, that it becomes eye rollingly awful.

From the amazing opening credit sequence (which suspiciously resembles that in big brother Liang's masterpiece, 'Legendary Weapons of China', made three years later), to the well timed comedy to the absolutely incredible weapons and hand to hand duels, 'Odd Couple' is about as good as kung fu comedies get.

Rating: 8/10

The Mandarin (aka The Godfathers of Hong Kong)

1973

Director: Chin Shu Mei

Starring: Kin Jin Pai, Cheng Liui, Chiang Nan

As with 'Brutal Boxer' (which I previously reviewed), here we have another so-called 'lost' kung fu movie from the early '70s. The difference is that this film has elected to stay lost... sort of. Apparently there is an English dubbed print in existence, though we're unlikely ever to see it. The reason seems to be that this lone print is owned by a single individual who refuses to part with it or make it available to the general public (such are the ways of the hard core kung fu collector, it seems). Fortunately a while back, a German dubbed print was discovered so at least we die hard types have that to fall back on...

The story (as well as i can gather as I cannot speak a lick of German) deals with a wanderer (possibly a detective) played by real life Hap Ki Do Grandmaster, Kin Jin Pai who in the film's oppening scene, attacks a group of drug smugglers and sets fire to their shipment. This understandably irritates the local big shot (Chiang Nan) who sends his lackeys out to kill him. They are no match for our nearly invincible hero as they are easily dispatched one by one and group by group. When the 'Godfather' finally learns that his new found enemy has a family, he has them kidnapped, setting off a grueling, showdown that is about as intense as any seen in the genre.

It's all very simple and obvious, but what separates 'The Mandarin' from others of this period is it's highly dramatic approach. The plot may be going by the numbers, but the execution is anything but. Kin Jin Pai's hero is shown to be as brash and naive as he is invincible. He is almost always smiling as he dispatches the increasingly volatile lackeys so when he is ultimately betrayed, it hits home like a sledgehammer. As I mentioned, the finale is especially powerful stuff. I can see why it wowed U.S. audiences back in the day under it's 'Godfathers of Hong Kong title. Director Chin Shu Mei (with rumored asisstance by a very young unknown named John Woo which may be more revealing of the film's content) drains every ounce of tension throughout, giving parts of the film an impressive gloom and doom atmosphere (you get the feeling that something bad is on the horizon for our hero, even while things are initially going his way) and this fuels the impressive fights considerably, especially the aforementioned climax. The final moments in the film are about as bold and outrageous an idea as any I've seen.

 'The Mandarin' despite it's simplistic plot, is one of the best and most draining kung fu movies of the early '70s. Worth seeking out, even in untranslated form.

Rating: 8/10

Spiritually a Cop

1991

Director: Shum Wai

Starring: Fung Sui Fan, Lui Fong, Mong Hoi, Yukari Oshima

"Get the fuck out!" growls Yukari Oshima (in English, yet!). Sadly, this should have been her sentiments when shown the script of this otherwise lousy (and somewhat offensive) action ghost comedy. 

The bizarre storyline tells of a male chauvenist vigilante (Lui Fong) who impersonates a cop and is killed while attempting to stop a gang of transvestite jewel thieves whom he mistakes for being women. His spirit returns to Earth ('How can I be killed by women? I am a man!") seemingly for the sole purpose of persuading the senior officer (Fung Sui Feng) into replacing Lin Lin, the female officer overseeing the case (Yukari Oshima) with a man. He goes so far as to persuade the superior (who also just happen's to be Lin Lin's lover) that her undercover meeting with diamond criminals is actually a secret affair.

'Spiritually a Cop' joins the ranks of tasteless Hong Kong comedies of the era and is probably one of the genre's worst offenders. The anti female stance that our 'hero' takes is so forced and so unfunny that it's completely overbearing. So why am I giving this turgid little flick as high a rating as I am? Two words; Yukari Oshima. Her snarling turn as the hot headed officer is breathtaking and far, far better than the movie deserves. There were times where I wished Lin Lin would just lose it and take out every member of the cast. Sadly this didn't happen but when the fights finally do kick in, they are actually very crisp and exciting  (courtesy of fight choreographer, Mong Hoi who also co-stars as a monk who communicates with the dead vigilante). Among the diamond thieves is a familiar face, Elaine Liu and her final smackdown with Yukari actually ranks as one of the best in either's career (she certainly holds up better against Osh than she had in 'Angel')

Ordinarily, a film with a couple of excellent fights and the awesome Osh would be enough to recommend it. Here however, there is a bit too much loathsome nonsense on display for me to fully do so. That said, Yukari's scenes are strong enough to warrant multiple viewings... just as long as I fast forward everything else.

Rating: 5/10