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

Kill the Shogun

1975

Director: Lee Doo Yong

Starring: Gang Dae Hui, Choi Chong Ming, James Nam, Bae Soo Cheon

O.K. where has this wonderful all-out fight fest been hiding? Apparently, it was hiding in plain view as I had it in my collection for several years after having bought it on Amazon for next to nothing. It just sat there collecting dust as I had no idea what it was I so casually obtained. Not until I started to read up on it did I discover that this was one of the top Korean martial arts movies of it's time... and it supposedly featured a cameo by non other than the baddest super kicker of them all, Hwang Jang Lee! After beating myself up for not having watched it sooner, I promptly put the thing in my dvd player. I was not disappointed.

The film is set in 1904 during the Japanese occupation of Korea in which it's populance found themselves brutilized, humiliated and kept in makeshift camps. A pair of heroic locals (Gang Dai Hui and James Nam) decides to fight back, setting off a brutal series of battles that ultimately threatens the entire Japanese army. After Nam's character gets captured, he is convinced to switch sides with the promise that his friend will be spared. Things don't go quite as expected...

I was really taken aback at just how much fun 'Kill the Shogun' was. O.K. the drama was uneven to say the least (early melodrama quickly giving way to mildly goofy shenenigans and featuring a raw fish eating main villain that is as crazily over the top as could be imagined), but I think this was the correct way to go. Director Lee Doo Yong gave me the impression here that he felt the over seriousness could sink the production and went with a livlier approach. Perhaps Lee wasn't capable of handling the material any other way. Regardless, he does manage to keep things moving at a quick clip and in this type of film, that tends to be more important.

Then there are the plentiful fight scenes. I've been critical in the past of Korean choreography being inferior to that in Hong Kong films. Well, that theory gets kicked to the curb big time here. Simply put, what's on display is some of the most exciting hand to hand (and foot) duels that I've ever seen in a 70s martial arts film. For once, the choreography does juctice to the supreme Tae Kwan Do fighter/actors. The battles are all fast, crisp and built up for max impact, culminating in a twenty minute tournament (of sorts) finale that is as ferocious and hard hitting as it gets. I am completely unfamiliar with star, Gang Dae Hui (the only other credit I could even find for him was another Korean film called Jailhouse, released the same year) but whoever he is, he's a very strong presence who lends equally well to the head bashing and thesping scenes. If these are in fact his only two screen credits (and they may well not be), then it's a damn shame. I've been a fan of James "mr. Rage" Nam ever since first seeing him as the complicated villain in 'King Boxer'. He proves here to be just as adept at portraying complicated heroes.

Despite my minor hesitance with the film's drama, 'Kill the Shogun' makes for a frentically fun old school martial arts experience, one that no self respecting aficiondo should miss.

Oh, and as for the Hwang Jang Lee cameo? He can be spotted during the finale, getting his rear end handed to him by Gang (Hwang's the one dressed in red). It took a second viewing before I even recognized him.

Rating: 7/10

  

Requiescant (aka Kill and Pray)

1967

Director: Carlo Lizzani

Starring: Lou Castel, Mark Damon, Pier Paolo Pasolini, Barbara Frey

Dark, moody, amazing, curious, trippy, hypnotic, facinating; 'Requiescant' is all of these things and a good deal more. When I first became a fan of Spaghetti Westerns many moons ago, it was for their decidedly unorthodox approach to the genre. In many cases, they didn't much resemble Westerns at all (which for me is a good thing) and merely used the Old West as a backdrop to tell some violent, highly unusual and at their best hauntingly told stories, filled with bizarre and visually arresting imagery. This film may be the greatest example of that.

The film begins with the masacre of an entire village of Mexican peasants at the hands of deranged, sadistic ex-Confederate Officer, George Ferguson. The only survivor is a small boy, left for dead after a bullet grazed his head. Wandering the land in shock, the boy is discovered by a  religious family who pick him up and adopt him as their own. Fast forward a decade or so and now a grown man and going under the name Requiescant (Latin for Rest in Peace), he learns that the family's rebellious daughter (his 'sister') has left to join a traveling theater company. Promising to bring her back, Requiescant discovers quite by accident that he has a near supernatural ability with a pistol. He discovers his 'sister', now employed in a brothel owned by none other than Ferguson. As he attempts to free her, Requiescant eventually learns of his heritage and embraces his destiny. 

The ubiquitous Carlo Lizzani made precious few Westerns (his only other venture in the genre was the entertaining, though far more traditional 'The Hills Run Red') and that's really a shame as he proved here that he can make one that's as compelling (and certaintly as eccentric) as any of his genre peers (Leone, Corbucci, Tessari...). Among the film's highlights are a tense drinking/target practice sequence between Ferguson and Requiescant, Requiescant returning to the scene of the massacre and having his memory restored amidst dozens of skulls and bones (which has a faint Holocaust feel to it, though I'm not sure that was Lizzani's intention), a particularly inventive saloon duel using a pair of nooses (this may be the highlight of the film) and Ferguson's ultimate commuppance. Every sequence in the film is handled with great precision and assurance (though there's some awkward editing which suggests that several scenes were cut; I have heard that the original print ran several minutes longer than any being offered on home video and am very curious to know if this was the case).

Star Lou Castel brings a memorable quiet confidence to his portrayal of the title character. By all reports, Castel was a strange fellow who stayed in character throughout. Mark Damon (cast against type) delivers what may be the performance of his career as the somewhat sickly looking, faintly gay and almost vampiric Ferguson. It is one of the great perfs in the genre. There was considerable hoolpa over the appearance of director, writer, poet and overall eccentric, Pier Paolo Pasolini. Playing a Priest who is also in line with the Mexican rebels, Pasolini in fact, does not have much to do in the film as his character tends to float in and out of the picture, offering a few choice words and a gaunt stare.

'Requiescant' is an amazing viewing experience. It was one of those few times watching a movie where as soon as it ended, I wanted to watch it again, immediately. Not everyone is as enamored with this film as I am (I have read reviews that alternately have called it "silly" and "dull"). For me, it was positively mesmerizing. A favorite, to say the least.

Rating: 10/10

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

 

Brutal Boxer (aka Blood Fingers)

1972

Director: Guan Shan

Starring: Ray Liu, Chen Sing, Tanny Tien Ni, Guan Shan, Mars

'Brutal Boxer' was at one time a 'lost' film and under it's U.S. title, 'Blood Fingers' became a favorite among old school kung fu enthusiasts who were lucky enough to catch it in theaters way back when and remembered it as one of the bloodiest and nastiest 'bashers' they had ever seen.

Shot in Thailand, our story concerns two brothers, Hsaio and Wu Cheng (Ray Liu and director Guan Shan) who are searching for their uncle. They stop at a restaraunt that they mistakenly think said uncle owns. Finding out too late that he doesn't and unable to pay their bill (never a good thing), they are besieged by the thugs that run it. When the twosome are able to fight the gand off, their skills are recognized by the crooked owner, King Chan (Chen Sing) who hires them and offers to assisst in finding the missing relative. Unsurpringly, the uncle along with his son, Chin (Mars) turns out to be resisting paying 'protection' money to the King and is under constant harassment. This of course, causes the two brothers to have a change of heart. To further complicate matters, King Chan's daughter has fallen for Wu.

So does the film live up to it's nearly legendary, bloody rep? In a way, yes it does. While the bloodletting isn't by the bucket load as the average Chang Cheh directed film of it's time, 'Brutal Boxer' features the type of ooey-gooey gore and crudely graphic makeup effects that are more often found in horror films. It plays like a fairly standard basher throughout it's running time, but truly earns it's keep in the incredible fifteen minute finale, where it gives Cheh's 'Boxer from Shangtung' a run for it's money in the bloody body count department. The actual fighting is some of the better and certainly most intense that I have seen from a film of this period.

Ray Liu makes for an appropriate 'pretty boy' hero who effectively cuts loose at the drop of a hat (his killing method is sticking his 'blood fingers' 'into' his opponent). Mars proves here as he had in 'The Rats' (reviewed elsewhere in this blog) to be a top fighter/stuntman, even at this early stage. His fighting actually outshines Liu's, but due to his odd looks, he was destined never to play the lead. Chen Sing is an absolute terror here. One of the baddest fighters to ever appear in Hong Kong cinema, Chen can amp up the intensity of an action sequence like no other. The film has (rather unfortunately) been marketed as an early Jackie Chan vehicle, disappointing many when they discover that he was merely a background extra. In truth, you would be hard pressed to spot him at all.

Overall despite it's admittedly depressing low budget, 'Brutal Boxer' with it's incredible finale is a solid  'basher' and worth seeking out for kung fu fans who like their action down, dirty and just plain nasty.

Rating: 6/10

 

Mirage (aka Mirage of Martial Arts)

1987

Director: Tsui Siu Ming

Starring: Yu Rong Guang, Tsui Siu Ming, Pasha Romani, Connie Khan

 1987 was quite a year for Hong Kong action cinema. Sammo Hung released his magnum opus, 'Eastern Condors', Jackie Chan countered with his supreme sequel to 'Project A', then the two brothers reunited with third brother, Yuen Biao for 'Dragons Forever' which for them could be equated with The Beatles releasing Abbey Road (not as farfetched as it may sound). John Woo meanwhile, unleashed 'A Better Tomorrow 2' which contained no less than the most unbelievable finale in the annals of action cinema... whew! I thought I had seen all there was to offer from that year, so imagine my surprise when not too long ago I discovered this well hidden masterpiece which not only can stand alongside it's more celebrated brethren, but can contend for the title outright.

The strory: While accompanying a convoy of goods making it's way across the Silk Road, adventurer/photographer, Tong (Yu Rong Guang) finds his party ambushed by bandits. After defeating said bandits, Tong and his party are stunned to see over the horizon the vision of a beautiful woman. No one can explain the phenomona. The task is complete, but Tong cannot remove the vision from his mind and sets forth with his friend on a journey through Mongolia in the hopes of discovering that woman to be real.

Actor/Producer/Director Tsui Siu Ming took his ambitious show on the road, this being a Mainland China production. The results are often breathtakingly beautiful with sumptuous cinematography that nearly approaches the level of a David Lean production. But make no mistake, this is an action picture and the plentiful fights and stunts are simply among the best ever comitted to celluloid. No matter how many Hong Kong action films from the '80s I've seen over the years, I'll never get jaded to the miraculous stunts that populated them. This film is no exception and if anything amps up the quality of the stuntwork to a level little seen, even from this time period. As I stare in wonder and bewilderment at the spectacle, it makes me feel fortunate that such cinema was made before the horrid development of C.G.I. which as far as I'm concerned helped mark the death knell of such pictures.

The cast really give it their all as well.  In one of his earliest roles, Yu Rong Guang commands the screen, already displaying the skill and charisma that would soon make him a star in Asia. Director Tsui cast himself as Tong's faithful sidekick, lending the role all the inheret goofiness and sincerity that's called for. He also put himself out their in the explosive finale by setting himself ablaze (compared to Ringo Lam who preferred to let his stars perform the deed). Despite my feeble attempt at research, I have no idea who Pasha Romani is and that's a shame. As the lovely 'vision' who turns out to be nothing short of a nightmare for our love smitten hero, Romani's portrayal of the evil, animalistic warrior queen steals the film. So viscious and so powerful is her portrayal that it is nothing short of terrifying. If anyone reading this review has any further info about ms. Romani that they wish to share here, I'd greatly appreciate it.

'Mirage' is the kind of movie that comes along only every so often. Though the drama does admittedly take the occasional misstep for the action/adventure fan, it is the complete picture; strong perfs, wonderful scenery, expert direction and constant jaw dropping fights and stunts. It's a damn shame that such an amazing work like this is to this day, still waiting for discovery.

Rating: 9/10