The Butterfly

"Unless you can fly, there's no way to escape!"

Ti Lung, David Chiang and director Chang Cheh made a number of films together, including one of their earliest, Have Sword Will Travel. Chang Cheh diverged from his usual Buckets 'O Blood format in this film, slowed down, and gave the story and characters time to grow. That doesn't mean there wasn't plenty of red dye #40 used, but he did wait until the last third of the film for the fighting to truly commence.

Siang, the dart master, played by Ti Lung and his lady love Piao Piao (the lovely Li Ching) are lounging in a flower covered meadow. It's a typical marriage proposal with Siang throwing a dart at the yellow flower in Piao Piao's hair and nailing it to the tree behind her all while fighting off a dozen bandits. They are on their way to the Invincible Village to help out Lord Yin who is responsible for escorting an imperial treasure of 200,000 silver pieces. Meanwhile, Lo Yi, a poor wandering swordsman is just seeking shelter for the night and stumbles upon a tower where a huge group of bandits called the Flying Tigers are holed up. They are led by none other than Ku Feng as Jiao Hung. Lo manages to avoid a fight and ends up in the Invincible Village. Siang is convinced he's a spy and wants to dispatch him, but his anger might have had more to do with Lo and Piao Piao making googly eyes at each other. Along with setting up the key players for the eventual all-out fight over the silver, the fight for the heart of Piao Piao has begun as well. Who will live, who will die, who will ride off into the sunset, and who will win fair maiden's heart?

The title is a play on the name of an American tv show, Have Gun Will Travel, starring Richard Boone from 1957-1963. Aside from David Chiang's wandering character and his friendship with his horse, the western references were few. This was largely a sword-fighting drama with quality fights for the era. The bad guys also employed chains with knives, bow and arrows, and what looked like metal boomerangs. Yuen Cheung Yan and Tang Chia choreographed the fights which were few early on, but made up for it in the finale. The body count was high by the ending credits. In true wuxia form there was an abundance of trampoline and wire work which for the time looked pretty good. The blood spurting was understated for a Chang Cheh movie, but if it's something you enjoy, there were several slow motion geyser scenes that should quench the most blood thirsty viewer.

A familiar tower which was used in other films and prescient of Bruce Lee's Game of Death idea, had the heroes fighting their way up the different levels manned with weapon wielding bad guys. As much fun as it was to watch the battles, it made little sense for the good guys to detour off the road with their precious cargo of silver to end up at the tower. The movie looked like Shaw Brothers sank more money into this one than many other of their films. The sets were a step up from their disposable sets built for rough and tumble bar fights. While the outdoor filming provided a scenic backdrop for the actors it could be unsettling when it bounced back and forth between nature and the sound stage in the same scene.

The three main actors had a nice chemistry and played off each other well. Ti Lung was confined to playing the man jealous of his rival's sword skills and how his girl gazed at Lo's narrow sword. David Chiang is not a favorite of mine, but he managed to let a few emotions crack through his closed off face. At one point when Lo had to sell his horse in order to eat, you could feel the sense of loss. Both Siang and Lo were unrelentingly proud which became tiresome after a while. Ku Feng really sank his teeth into the charismatic leader of the Flying Tigers. In one scene Ku slithered up to Lo like a snake in the garden and tempted the expert swordsman to join his gang.

The visual quality of Have Sword Will Travel was impressive compared to other martial arts films of the time. The vicious sword fights were well done and the story had real stakes for the fights. The love triangle added emotional depth so often missing in these movies. I was disappointed that we missed out on a friendship or mutual respect developing between the two rivals because that would have set this movie even further apart in quality from other cut and paste kung fu flicks. Instead, there were two prideful men, unwilling to accept help from each other even when it no longer made sense to push each other away. I kept hearing Mony Python's knight saying, "Tis but a flesh wound!" Regardless of this quibble, Have Sword Will Travel with the renowned trio of Chang Cheh, Ti Lung, and David Chiang is one for martial arts movie fans to seek out.

4/11/23

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Prison buddy movie missing a coherent plot

Bolo gave star and director Bolo Yeung Sze a chance to play against type. Instead of the bruisingly brutal bad guy the good guy pummels at the end of the movie to show the hero's prowess, Bolo played the big dumb ox. After watching this not once but twice now, I think I like him better as the bad guy.

Aside from the synopsis that Bolo and Jason Pai were prisoners sent to be sheriffs in a lawless town where the sheriffs kept getting murdered, I'm not entirely sure what the plot was. Bolo seemed to think he was the sheriff and stumbled into helping people though the townspeople didn't support him with the exception of Lau Hok Nin. Pai spent more time in the brothel or searching for the missing gold that had landed him in jail in the first place. Then the plot tumbled off a cliff and was swept out to sea. Whether the prison buddies were working for good or evil was debatable, although they did find the mastermind behind a sex trafficking ring and the missing gold. The film had bathroom humor and sexual jokes. Most of the jokes came at Bolo's expense.

Sadly, Bolo's fights were mostly kung fu posing, emphasizing his power and size. Pai's fights were quicker and stressed his agility. I'm all for a shirtless Bolo more on the side of good than bad, I just I wish they hadn't made him quite so slow. Jason Pai was engaging as a character and fun to watch fight. The final fight was the best one when a Japanese fighter wearing a metal pan on his head took the two buddies on. When the two combined their skills, it was cute to watch, deadly, but cute.

If you love slap stick humor and don't mind an almost incoherent plot, you could try this one. I'm a big Bolo fan and enjoyed Pai's sly character, but this movie stressed my patience.

3/28/23

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If you want it, come and get it!

The title 10 Magnificent Killers pretty much sums up the story for this Hong Kong kung fu flick. Two young fighters are trained by two different masters, one a constable and one a criminal with a dark secret. The movie features numerous B level kung fu actors and stuntmen. With four different martial arts directors the numerous fights all looked a little different. Fong Yau who normally plays the bad guy, wrote, directed, produced, and did work as a martial arts director which might explain why he actually played a good guy in this movie!

Hsia Chuan (Nick Cheung Lik) was raised by Tu Shu (San Kuai), a cagey master who cons Hsia into signing a contract giving him 50% of his earnings for life. The resident Big Bad, Leng Chieh (Bolo!), begins sending his top ten killers against Tu Shu. Hsia is not afraid of using poison against his enemies, including Hsiao Li's master Lee Yu Wei (Fong Yau). Lee survives and continues training the young Hsiao (Chu Chi Ming) to become a constable. Tu Shu and Hsia are more concerned with collecting the bounty on the killers' heads and how they are going to split it. A beggar uses his stick of doom, a coffin maker shows up literally in a coffin before beginning to fight, and Addy Sung appears as a kung fu fortune teller among the other assortment of killers doomed to die. Tu Shu and Hsia find out where the killers are and begin taking them out one by one until only Bolo is left. Somewhere else in the wooded area, Lee continues to train the marshmallow looking Hsiao. Eventually, all the secrets are revealed and the story comes to a head with the two young fighters meeting and then a rushed ending given the revelations at stake.

Because there were four martial arts directors-Bolo, Cheung, Fong, and San, there wasn't a cohesive fight experience but that might have been a good thing for some fights were better than others. A variety of styles were used such as Snake, Bolo's "I'm not looking at you" style, and a kick-fest for the finale. Nick Cheung Lik and San Kuai were featured in nearly all the fights, some serious, others comedic, and held their own. Chu Chi Ming was a lackluster hero who had little screen time which was no loss.

While the fights came fast and often, the flimsy story doomed the movie to forgettable. Bolo and his terrible mustache couldn't even save this movie. For a short kung fu film it was below average but watchable with nothing terribly offensive. No spurting blood, no nudity (although there was a lead up to an intimate scene), but also no memorable fights. The story could be confusing diluting the big reveal at the end. The main focus of the film was the two guys who poisoned and killed their way through a vicious gang, who weren't much better themselves. I was happy to see Fong Yau play a good guy and I'm a Bolo fan, but I'm not sure that's a recommendation for watching.


3/28/23

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Tony Jaa delivers a trunk load of Muay Thai fun!

The Protector packed a trunk load of action into a short amount of time. Protector Tony Jaa proved he was up to the tusk when he traveled to Sydney to find his stolen elephants. Ivory few minutes there was a bone crunching action scene with a ton of flipping, twisting and leaping. I promise I'll stop with the elephant puns now.

Tony played Kham one of the Muay Thai trained protectors of the elephants that may serve the king. During a celebration, the bull elephant and his calf were stolen and taken to Australia. Kham arrived in Sydney and ran afoul of the law almost immediately. He was fortunate that one of the police officers was Thai and believed his story. Unfortunately for that cop, he was framed for murders the triad committed.

Most of the story was filled with contrivances that were best not looked at too closely. The main thrust of the story was that Kham was willing to go through anyone to find his elephants. This movie was all about the action scenes, and on action scenes, it delivered. The bad guys had an entire army of fighters. Fighters on skates, bikes, motorcycles, armored four-wheelers, with fluorescent bulbs, knives, guns, statues, whips, and/or swords. Tiny Tony also faced seven-foot giants. There were chase scenes involving speed boats and helicopters. There was an intricate scene filmed in one long shot as Kham fought his way through the bad guys' den up several levels of stairway. Though there were numerous long action scenes, none of them felt repetitive. Each setting had its own fight mood. Whether it was Road Warrior futuristic mayhem or meditative murder in a Buddhist temple, each fight brought its own style and weaponry. It would be hard to overstate how amazing the actions scenes were. Jaa was incredibly athletic and acrobatic, doing stunts others would need obvious wire-work or CGI to accomplish. To quote a character from the television show The Wire, "That was some Spiderman sh*t!"

Aside from the narrative issues, the dubbing for this movie was terrible in places. It strained imagination to believe Kham was in Australia with some of the "Australian" accents. Bad guys and bodies appeared and disappeared along with story cohesiveness. The acting was serviceable, as long as no one had to say too many lines. As I said, best to focus on the action scenes and not pay much attention to the rest or you may become needlessly confused or disheartened.

What I learned from this movie: #1 Elephants are loyal family members. #2 Gravity does not apply to Tony Jaa. #3 When in doubt-aim for an enemy's tendons, preferably with a bone of revenge.

If you are wanting a complex and coherent story with character development, this is not it. If, however, you are in the mood for an exciting martial arts movie that includes elephants and has a likeable star, everything else is irrelephant (couldn't help myself!). This is the one to try.


3/20/23

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Black Belt Karate was a Hong Kong-Indonesia joint production with a mixture of Hong Kong and Indonesian actors. Indonesia provided most of the settings, giving some new blood to the standard Hong Kong and Taiwanese kung fu fare. The movie itself could have used a transfusion of screen presence magnetism.

The movie began with a goofy character named Tommy arriving in Indonesia from Hong Kong looking for his uncle. He wanted to learn karate at his school, but upon arrival it turned out his uncle had moved and a restaurant had replaced the school. The restaurant owner hired him to wash dishes and do odd jobs. Tommy spent most of his time practicing karate moves and watching the demonstrations at the Golden Eagle martial arts school when he should have been working. He was fired from his job and began work as a cart driver where he bumped into a beautiful girl whose father just happened to own the Golden Eagle. He began work as a janitor at the Golden Eagle and ran afoul of Lamoz, the top coach, who had his eyes on Tan Wei, the master's daughter. After Lamoz put the beat down on Tommy, the comic relief was allowed to begin training. Master Sai believed Tommy was a diamond in the rough and would one day become a great karate expert. Billy Chong, who was only referred to as Second Brother, became good friends with Tommy.

Tommy improved and won a local tournament which resulted in the sore loser picking a fight with him later. After Tommy defeated him, it turned out the fight was against the Golden Eagle rules and Lamoz saw to it that Tommy was kicked out. After Lamoz revealed he wanted to marry Tan Wei so that he would inherit the Golden Eagle, Master Sai kicked him out. Lamoz began work at GA's rival school, the Dragon Martial Arts School. Master Sai became ill and asked Tommy to return. When Tommy was out on an errand, Lamoz brought the Dragon students to the Golden Eagle and terrorized the students and tore down their sign board. Master Sai sent Tommy to Hong Kong to further his studies.

In Hong Kong, Tommy met Bruce Leung as Hsieh Kwong, which set up the best fight in the movie as the two sparred. Tommy returned to Indonesia after finishing his training to find that Master Sai had died when he fought off Lamoz, after the creep tried to rape Tan Wei. The big showdown between Tommy and Lamoz was comically short and failed to give the catharsis the character and the audience deserved. The Dragon school called in a ringer, Lo Lieh, to kill Tommy. Despite Lo Lieh showing up in a fancy black and red cape, it didn't help him in the fight.

This film was an odd one. When the film began with Larry Lee doing a comic relief act, I kept waiting for Billy Chong to show up as the main character since he received top billing on the DVD. Instead, Lee with his less than leading man looks or acting ability was the star. Billy would have his chance soon enough in his movies that followed. Lee had above average martial arts skills and indeed did train in Goju Ryu karate. His moves and choreography were realistic enough in most instances. Bruce Leung also was credited with martial arts direction. I truly enjoyed watching Bruce and Larry spar, it was quick and showed off their kicking skills. With the exception of the final fight and Bruce Leung's fight with Chiang Tao, most of the fights were well above kung fu posing. I'm an unabashed Lo Lieh fan, but despite Lo Lieh being Indonesian, this movie could have used a more skilled karate fighter for the big finale. My dream casting would have been Kurata Yasuaki. As it was, the final fight was a let-down. Most of the fights after Tommy returned to Indonesia were of a lower quality than the earlier parts of the movie.

Black Belt Karate had plenty of fights for martial arts enthusiasts with talented bit players and stuntmen filling in the action. Even though it lacked that special narrative spark and charismatic acting that would have made it more memorable, the movie is still one to try for the different fight style and setting than most of the Hong Kong movies in this era had.

3/20/23

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One ninja star out of four

Challenge of the Lady Ninja had the potential to be so bad it's good and a fun girl power movie, but was bogged down in sexploitation. The film couldn't even pretend to be about empowerment when it featured ninja mud wrestling.

Wong Siu Wai, a Chinese woman, had trained for 17 years in Japan as a ninja, becoming the only female ninja in the clan. You could tell she was the only woman because she was the only ninja wearing red. Totally blends and keeps her hidden. Her fellow ninja, Koloder was furious because she beat him and is Chinese. She had to go home to Shanghai when her father was killed by her fiancé who turned out to be a traitor. We all have family problems, but girl had more than her share. Upon returning home and meeting up with the resistance she determines to train some women in the art of being a ninja. Her ninja training included a long session of stretching with gratuitous boob and crotch shots and lots of suggestive moaning. I never knew this was essential to ninja training but discovered ninja mud wrestling was part of the experience. Nothing sexist about this at all. Part of the training included one ex-prostitute who could seduce a man by projecting her body in underwear before him and then transporting out. Wong had the same ability.

Lee Tong had four martial arts bodyguard who dressed like aliens, especially the guy with a scorpion tattooed on his bald head. The women work to kill off the bodyguards one by one which entails a vampire poison bite, dealing with a heat seeking boomerang, and an oil or water fight with two women stripping down to their bathing suits hidden under their clothes. Always be prepared! A dude in a Skeletor mask even appeared out of the blue to help them on occasion. I'm not making this up. The final showdown with Koloder was bizarre and had the abrupt ending so many 1970's kung fu movies employed.

Elsa Yang made a serviceable campy ninja, she just wasn't served well by the script. Chen Kuan Tai as her target and ex-fiancé played the debonair traitor always jauntily dressed in suits. The kung fu movie star had one short fight near the end. Robert Tai played the strange bodyguard with tattoos and blue lipstick, leaning into the oddity of the role.

The movie was set during the Japanese occupation, so 1930's or 40's. You would never know that by looking at it. They did work in a few "ye olden times" costumes, but they were interspersed with modern (70's or 80's) clothes and hairstyles, not to mention the many bikini scenes. Modern cars were shown numerous times as well. I laughed out loud when they played Darth Vader's intro music from Star Wars with the traitor's introduction. The rest of the music was of the bow-chicka-bow-wow generic synthetic variety. There are a couple of versions out there, one where the traitor is the female ninja's fiancé, the other where he is her brother. Does not improve the story either way.

The fights were the swish and fall sword fights, most of the others defied the laws of physics. One underground fight was mind bending. Bad wire-fu was often used and plenty of colorful exploding smoke bombs were thrown. The fights really were quite dreadful. Oh, and lots of jedi, I mean ninja mind tricks.

With so many women in the cast I wish that I could recommend this movie. I found it to be hugely disappointing. Instead of being a movie about women ninjas for women to also enjoy, it was a titillating view of how men want to see women ninjas train and fight. Only for a niche crowd, one of whom I'm not.

3/14/23

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Blood for Blood

Ti Lung played a dual role in The Revenger, a film that covered twenty years. The title was a misnomer because in neither the father role nor the son role did he truly play a vengeful character. That's not to say there wasn't plenty of revenge to go around, but at least for the title character, revenge was not his defining characteristic.

Chou Tu is a force for good, protecting the abused and downtrodden. This puts him at odds with Mao, a ruthless and underhanded villain. Chou rescues the lovely Shih Szu and ends up taking her as a mate. After being murdered in an explosive ambush, Shih Szu is rescued by two comedic kung fu experts who help her to raise her baby. With Chou Tu gone, Mao fully established his power and destroyed a family who were not loyal to him. The neutral swordsman, Ling Yun, takes the baby daughter to raise while Mao grabs the family's son to raise for vengeful purposes.

Eighteen years later, Shih Szu tells her son, Chou Shu about his father's murder and how his bones are scattered amongst the treacherous villains. Shu is bent on revenge but on her deathbed his mother makes him promise to not seek revenge only to retrieve his father's bones so that she and the man she loved could be buried together. The little girl grew up to be Hsu Feng whose only desire is to destroy those who killed her family while her brother grew up to be Dorian Tan (with no kicking abilities!) who is loyal to the dastardly Mao. It doesn't take long before the new generation is set on a collision course and the bodies around them start to stack up. Though Chou Shu kept his promise there couldn't have been more death in this film had he gone on a purposeful murderous rampage.

The fights used more weapons than actual hand to hand and were more comparable to kung fu dancing than fighting. There was quite a bit of kung fu posing and conversely, sped up fights as well. Why they had Dorian "Flash Legs" Tan play a milquetoast character who only used a whip, I'll never know. His part was extremely small making it seem he might have been filming another movie and only showed up when he had time. Hsu Feng, as the sister, along with her master Ling Yun, were the two most vengeful characters though they didn't have much screen time either. Wong Ching wasn't the most menacing of evil doers and could come across as a sniveling stab you in the back guy instead. Ti Lung as an eighteen-year-old was a stretch but he did give it a good try to distinguish the two characters. Like a less vengeful Inigo Montoya it did become a bit humorous as he kept repeating to each of the numerous villains that he was not there for revenge, only to retrieve his father's bones because no sooner would he utter the words than the bodies would start dropping.

Twenty years' worth of story with numerous characters condensed into 100 minutes made it difficult to emotionally connect to anyone. The second generation had revenge and familial elements that would have made for a more gripping story had they been properly expanded on. It the story is not compelling the fights have to be dynamic and these fights were below average for a 1980 movie. The potential was there, but this was one skeletal script that fell apart.


3/13/23

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Lots of high flying action that doesn't go anywhere

A stolen shipment of government gold, a police chief seeking a pardon, not one but two vengeful daughters, murderous bad guys, and evil monks---sounds like enough plot for an old martial arts film---just barely. Carter Wong and Lo Lieh added kung fu credibility to the blade thin story which required non-stop action to be of interest.

Lo Lieh tricks some petty thieves into gaining him access to the government's gold warehouse and then leaves none alive. Lung Fei, his loyal henchmen, helps him to clean up. Later, an always stoic Carter Wong, enters Lung's gambling establishment and says his name is The North Wind. Lung is so impressed with the way Carter handles a fight he gives him a job. What kind of job and why does he trust him so quickly? Story convenience. Two different women, Nancy Yen, the daughter of two innocent people killed during the robbery and Chi Lan, the daughter of one of the murdered petty thieves, butt heads working against each other for the same goal of avenging their families. James Tien shows up as Lo Lieh's #1 ruthless minion. Miao Tien as one of the Three Tigers works to discover where the gold is with his two buddies. People are pretty touchy and nearly everything results in a fight with everyone either looking for the gold or vengeance.

The fights varied, some were below standard for this time frame, others were better depending on who was fighting. Nancy could almost be seen counting her steps in a couple of fights. Chi Lan, who only made one movie, was more fluid and athletic. Their choreography incorporated too many unnecessary jumps simply to add motion. Generally, if Lung Fei, Carter, Lo, or James were in a fight scene they flowed better. These guys were old pros at fight choreography by this time in their careers. Much of it was the of the strike, block, lock method, some faster than others. The weapon fights used a variety of styles amid wire work. The monks utilized a giant lantern with old UFO sounds which could spin out poisoned darts. Per usual, the finale took place in what looked like a quarry. These old Taiwanese films were the equivalent of a mom telling her rambunctious kids to go play outside. Somehow the final fights always seemed to end up outdoors.

There wasn't much story or character development even for a kung fu flick. What this movie had going for it was almost constant action and a likeable cast. I always enjoy the chance to watch Carter Wong and Lo Lieh square off. Having said that, this film would only be for fans of the actors or the genre as the plot was more lead than gold.

3/13/23

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One sweet martial arts action fest!

If you enjoy martial arts action films and don’t mind a lackluster story---check your brain at the door and kick in your suspension of disbelief, make some popcorn and sit back and be prepared to be amazed by Jeeja Vanin in her first starring role.

Chocolate's storyline uses the most dated of plots. A jealous crime boss doesn't like the woman he loves falling in love with someone else. The woman eventually sends her lover away to save him and has his child in secret. The child turns out to have autism and the woman runs up debts for her care and even more debts when the mom turns out to have cancer. The girl and a boy the mom adopted find her mom's old debt collection book and head out to try and collect the money from some shady characters. Fortunately, the girl has learned Muay Thai and other martials arts from watching tv and video games. I'm going to skip over the magical autism abilities discussion. The story setup is simply a reason for her to drop kick a wide assortment of baddies in ice houses, meat factories, and the Big Bad's headquarters. And punch and kick she does in the most creative ways you are likely to see. The fights started out fairly rudimentary and continued to crescendo until the bonkers, long finale fights that were as brutal as they were graceful.

The writing and acting were mediocre to poor. Just like in a Kaiju movie, when it takes the monster 30 minutes to show up, the only thing people really care about, this film took about that long to get the action rolling as well. The story was nearly irrelevant because the star of this show was Jeeja's astonishing ability to contort her body into a beat down machine, dodging objects, fists, and kicks while delivering punishing blows to men and women twice her size. I read that several actors were injured while making this film and it was not surprising when you see the hard slamming falls people took throughout the fighting. The fight choreography started out slow and breathlessly moved to astonishing.

If you are looking for stellar performances and an interesting, cohesive story, you are likely to be disappointed. However, if you enjoy exciting martial arts choreography, especially with a kickass female lead, this is definitely one to try out.


3/11/23

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"A samurai's wife sends off her man with a smile"

Samurai III: Duel at Ganryu Island brings the great samurai's tale to a close in this trilogy. Miyamoto Musashi has gone from hot headed youth to a wiser, accomplished swordsman. He will still have to deal with his rival Sasaki and the two women vying for his love in this film as he seeks out a better life.

Musashi has followed the advice of his advisors and only fights when he knows he will have no regrets. He finds other ways to avoid fighting while not losing face such as catching flies (before Mr. Miyagi!) with his chopsticks to warn a room full of rowdy men of his prowess. Swordsman Sasaki finds him and challenges him to a duel. Musashi seems to have no burning desire to do this putting him off for a year. He and his young companion and another man travel to a village that has been devastated by bandits. Here he builds a hut and begins to farm the land. Coming full circle, this time he appreciates the lessons the earth has to teach him. His peace is shattered when not only Otsu, but Akemi show up on his doorstep. He spurns Akemi and she cooperates with the bandits who are planning to burn the village to the ground. In a calmer manner than he did in Seven Samurai, Musashi once again draws his sword and takes care of business. Before meeting with Sasaki for their duel he finally communicates with Otsu and settles their personal affairs. The duel on an island with the sun behind Musashi while he stands in the surf with a large wooden sword raised was stunning.

The paths of the two elite swordsmen were very different. The Shogun's officers courted both Musashi and Sasaki for a high-level position with Musashi turning them down. He was seeking a peaceful life and no longer needed to validate his skills by killing men he had no argument with. Sasaki gloried in his notoriety as a samurai in a high position. And I will not forget he raped Akemi in a previous film where Musashi stopped when Otsu told him no. In the end, Musashi, standing in the waves that would continue to lap against the shore no matter who won or died seemed to realize the futility of their behavior.

As with the other two films, I don't know a kinder way to say that Akemi and Otsu were as emotionally sound as two bags of cats. Musashi had never given Akemi any indication he was interested in her but despite all that had happened to her she still obsessed over him. Otsu wished he just an ordinary man, but would she have still loved him if he had been? She fell in love with his fire and knew his love of the sword from the beginning and yet she stalked him to the ends of Japan to plead her case. Having both of them throwing themselves at him and behaving irrationally took away from my enjoyment of this film and didn't make Musashi seem any more virile. Finally, Musashi actually told Otsu his feelings for her. In all his self-development someone should have clued him in that women do not respond well to silence.

The cinematography was lovely when they used natural settings. In the opening scene, Sasaki and Akemi were standing in front of a beautiful waterfall with cascading rainbows. The final beach scene was colorful and moving watching the two men's silhouettes posturing, looking for the fatal opening. The wigs and clothes were rougher and less pleasing than in the second film. Musashi might be going back to nature, but a comb never hurt anyone. The fights were typical 1950's swordplay. No blood for the most part and it was swing and fall action.

Mifune Toshiro played Musashi as the grown man he was by this film and even in a more subdued mood, his charisma still shone. Tsuruta Koji did a good job with Sasaki and his casual cruelty and arrogance. The actresses did the best they could with the female characters, characters too annoying to be pitiful.

Of the three films, I enjoyed the second one the most followed by this film. There were fewer fights and duels in this film than the last as Musashi was consciously avoiding violence when he could. Duel at Ganryu Island made a proper ending for the trilogy with the unbeatable samurai stepping away from the life he had chased after in his youth with one last moment of graceful brutality. The difference afterwards was that he felt the weight of his actions and the loss of life more profoundly than before.

3/8/23

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The drunk, the cat, and the hammer

Near the end of Chia Ling's movie career, she starred in No One Can Touch Her. For a 1970's kung fu flick, she gave a nuanced performance as a grieving and vengeful daughter suffering from blindness after a brutal attack. Never giving up, she began practicing drunken kung fu and even kitty kung fu.

Chin Lin's father was murdered in front of her by a curious menagerie of bandits. She was blinded and became known as Brother Blind. Drinking copious amounts of mostly stolen alcohol, she and her only friend, a young boy with a sling shot, roam around as she continues to practice her kung fu. Along the way she is reunited with the man who had wanted to marry her and still does and becomes friends with a woman named Wong Mei Gwan (Sun Chia Lin). Also in town is a buffoon of a police inspector and a large man who does manual labor known as Brother Mallett. The Inspector takes an interest in Brother Mallett and soon the big guy is unknowingly practicing the Hammer Hand. The 14 bandits and 2 giants break up a wedding and the fighting and betrayals go to a new level.

The fights were plentiful in this movie, especially the last third of the film. These were fairly typical 70's strike, block, and lock fights. The final fights were more creative using a variety of weapons, even an opium pipe and a cat. Chia Ling did a good job with the drunken fist style and cat style (house, not tiger), so drunken cat style? She appeared to be the most athletic of the lot with Chin Kang, also one of the choreographers, right along with her. Her fight using two swords against a nameless bandit was the most fluid of all the fights. Chin Kang tended to play a lot of baddies so it was pleasing to see him in a more heroic role. With 13 or 14 bandits and 2 giants, there were a lot of opportunities for fights and not a lot of opportunity for character development. Despite her limited screen time due to the large cast, Chia Ling gave a rather complex performance for a 1970's kung fu movie. Director/Writer Ting Shan Hsi also wrote the script for one of my favorite old female led kung fu movies, Come Drink with Me and you can see his writing style shining through here.


Even with the solemn theme, there was plenty of levity, often focusing on Inspector Buffoon and Brother Mallett. Turns out the goofy inspector wasn't wrong about being smart and a kung fu genius. There's a nice little twist at the end even though most people will see it coming. NOCTH wasn't great cinema but it kept my attention and gave me a few laughs and fun fights to watch, I don't ask for much else from martial arts films from this era. I would only recommend for old kung fu movie buffs and Chia Ling fans. As always, I rate these niche, low budget movies on a curve.

3/5/23

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Warning: Convoluted plot may cause dizziness

Gordon Liu stars in The Drunken Monk (the more common title), which is a misleading title. He's not a monk and rarely practices the drunken fist. If that's confusing, it's okay, because much about this movie is confusing. Perhaps it should have been called Drunken Writer for the dizzying way the story is told.

The story is not told in chronological order so here is the gist of it. Lau Chung was saved from drowning when a gang that had killed his parents threw him into a lake. During his beggar times he discovers a drunk hermit who practices drunken fist kung fu. The hermit teaches Lau the Five Shaolin Animal Styles and Drunken Fist. No one trains like Gordon Liu and Lau uses everything he does to enhance his kung fu. When he's trained and ready for revenge, he kidnaps Ying Ying, the Big Bad's daughter, to draw out his enemy. Things do not go according to plan with Ying Ying or her father. As these things happen, Ying Ying and Lau fall in love with each other and leave her torn between her lover and her duty to her father. A one-handed fighter is also wanting vengeance on Eagle Han's Big Bad Wong Kin Chung in retribution for the loss of his right hand but as much as they might focus on this guy, this is Lau's revenge story.

The story goes back and forth, motivations change, terrible editing makes it hard to follow at times, basically, the story may make you feel like you've been on a bender if you try to make too much sense out of it. The ending may have you going, "what?!" At least it did for me. Usually I'm a fan of Gordon Liu's fighting and he's as fast as ever with this one demonstrating a number of kung fu styles. One scene done in slow-mo was fascinating not in the way they might have intended, as Gordon goes to kick the extra, the extra can be seen jumping backwards before the kick is supposed to land. While his drunken master was more convincing doing drunken kung fu, maybe because he was supposed to always be drunk, Gordon's drunken style wasn't as…drunken. There were moments in his fight with Eagle Han where it almost seemed as if they were kung fu dance posing. I kept waiting for them to cue some disco music. Gordon had some good fights and there's no denying he's fast, these fights just didn't seem to measure up to his usual standard.

The film was shot in Korea with a number of Korean actors and extras. It was interesting seeing the different faces rather than the usual Hong Kong and Taiwanese crews. And the scenery in South Korea was also beautiful. It's a film worth seeking out if you are a Gordon Liu fan, enjoy his training montages, or simply like old martial arts movies, but be forewarned it should come with a label that watching it could make you feel tipsy.

3/4/23

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Flirty Kung Fu Fun!

Win Them All was directed by Kao Pao Shu, one of the very few female directors of kung fu films during this era. Though the main plot was a daughter's revenge, that plot was largely overshadowed by her con artist co-hart's antics which actually made for a campy, silly kung fu movie for three quarters of the screen time. Kurata Yasuaki, a real martial artist, gave the film some fight credibility as the gleeful iron finger killer.

Hsu Feng plays the daughter whose father was murdered by the iron finger method. She's out for revenge and somewhere along the way hooked up with two scam artists, Hu Chin and Chen Hui Lou. Hu Chin fights, flirts and scams greedy men to keep Hsu's mission funded. Tien Feng is the Big Bad as he often was in these old kung fu films, well protected by Kurata's deadly fingers. When the women are confronted by Tien Feng's goons Hu Chin not only manages to beat them, and rob them, but leave them pantless as well! Flirty Fu style! They are soon joined by Wong Yuen San, a rather bland officer from the security bureau. For some reason he's accompanied by his annoying and jealous "sister". After numerous fights with the underlings, it all comes to a head with inevitable fight between Wong and Kurata. Disappointingly, the vengeful daughter has no hand in the final showdown.

Most of the fights were pretty good, especially with Kurata involved. Hu Chin, not a fighter, had tremendous help from the gifted stunt men and actors who flipped, flew, and bounced after taking her "hits". In the grand finale, her character somehow completely forgot how to fight and added nothing to the free for all. Wong had some martial arts skills but the character wasn't very charismatic. Kurata, on the other hand, was an accomplished martial artist and he brought speed and agility to the fights with a frightening malevolence. Some of the kicks obviously missed but I can forgive the missed kicks with these kind of faster fights in old budget films due to safety reasons and not always having the money to do many reshoots. The biggest problem I had was that Kurata's character was skillfully and ruthlessly pummeling Wong's and suddenly Wong defeats him. With all the ridiculous things that had gone on for nearly 90 minutes, that was the most unbelievable. No wonder Hsu wasn't allowed into the final fight, Wong was barely believable fighting Kurata.

As always, I grade these 1970's martial arts films on a curve. Win Them All was a fun, flirty, romp with a dark thread running through it. Kurata brought the danger and was an absolute joy to watch kick and move through the final fight. Hu Chin's character managed to not be completely annoying and brought a feminine energy to a very masculine genre. I wouldn't label it feminist, but for 1973 at least Kao Pao Shu made an attempt at putting competent female characters at the forefront.

3/4/23

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No holds barred fun!

Flash Point is a good old fashioned Hong Kong crime drama with plenty of shoot-outs and hand-to-hand combat between cops and bad guys. The story is paper thin and the writers didn't worry about using almost every trope from the genre. What sells this movie is the fight choreography---your enjoyment will be determined on how much you appreciate watching Donnie Yen and Collin Chou fight in their prime.

Donnie plays a detective who is always being disciplined for being too aggressive with perps in his job. The upper white shirts allow it because he's so good at closing cases. His latest case involves his partner, Louis Koo as Wilson, who has gone undercover with three vicious Vietnamese smugglers and their gang. The first half of the movie has a modicum of action, it takes the time for us to build empathy for Wilson who is not the brightest UC cop and Donnie whose only motivation in life is bringing down criminals. It also shows just how violent the three brothers are so that we can wait with anticipation for Donnie to clean the floor with them. As the officers close in on the bad guys and appear to have a strong case with numerous witnesses, the witnesses are murdered one by one until Wilson is the lone person to be able to testify. Character building time is over children, now the blood letting begins. I started thinking of Wilson as Timex, he took a licking and kept on ticking, it almost became comical how many times he was injured. Don't expect much from the basic plot because it had as many holes as a paper practice dummy.

The high point of this film was in the final act as the bodies started stacking up. Even something as simple as jumping a fence became a chance for doing something more creative. During one brutal battle, Donnie's character loses control and the blood lust overtakes him leaving him shaken. The final extended fight between Donnie and Chou was worth the price of admission for this movie. It was vicious, fast, and well-choreographed combining a number of styles and looking more like MMA than kung fu. While there were a few "movie moves", for the most part the brawling seemed fairly realistic. And brawling it was as the two not only kicked and punched but grappled on the ground with bones breaking. Donnie won a Hong Kong Film Award and a Golden Horse Award for Best Action Choreography and he earned it. The stunt guys who did the more dangerous work are to be commended as well.

The loose cannon cop who doesn't play by the rules and the bad guy who can get to anyone has been done a hundred times over and this film certainly didn't break any new ground. The entertainment value for people who love Hong Kong crime and action films lies in the ferocious tension filled confrontations. You may groan at some of the idiotic mistakes the police make but you may also hold your breath in wonder at how fast and limber Donnie and Chou were and remind yourself it may just be acting but these cats were fast as lightning.

3/1/23

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"I want to start over"

Tokyo Twilight is a film about a disintegrating family and the darkest film I've seen by Director Ozu. The darkest and the most difficult for me to come to grips with. This last of his films in black and white was gorgeous to look at, one of his most aesthetic in regards to framing and composition. But I come back to the subject matter. Do I rate and view it as the audience it was intended for? Or do I rate it as a 21st century woman who was appalled by aspects of the story? I ended up splitting the difference.

Takako and her young daughter have moved back in with her father, Sugiyama Shukichi, though he doesn't know she's seeing it as a permanent situation. After pulling the information out of her, she confirms what he's been hearing. That the good Professor Numata she's married to has been drinking heavily. He is also abusive to Takako, but especially her daughter when things have not gone his way at work. Numata's admitted to having no paternal love toward his child.

Akima is the younger sister. She's carrying a secret within her and desperately trying to find her college boyfriend who put it there. With no mother to confide in and not close enough to her sister to share, she bears the burden alone. She stays out late at night and because of this is repeatedly described by men as decadent and wild. Waiting at a café where her boyfriend, Kenji, told he'd meet her she is taken to a police station by a police officer because she shouldn't be out late alone. The place was a known hook up joint for prostitutes, and with Kenji never showing up, it looked like a cruel joke was played on her. Ultimately, she decides to rid herself of her secret since her boyfriend has mostly rid himself of her. Later her aunt tries to play matchmaker, with Akima crying forlornly that she will never marry or have a child.

Shukichi is proper and polite to everyone but also an authoritarian father. He's ready to cut Akima off because he found out she'd been taken to the police station but Takako steps in and soothes his anger. Years earlier Takako would have married someone she'd cared for if Shukichi hadn't insisted she marry Numata instead. His word is the law in their household.

If all this wasn't enough drama, the missing mother shows up in a mahjong parlor Akima and Kenji's friends frequent. No secret stays buried and soon the daughters find out she's back and why she left. Akima fears she has her mother's bad blood and will never be happy or that she was illegitimate. Takako cannot forgive her mother for abandoning them and holds her responsible for Akima's problems. The mother was an enigma, she wanted to reconnect with her daughters but when she found out that her son had died several years earlier, she did so without so much as batting an eye.

Takako and Akima both wish to start over and find happiness. In the end, neither do. Akima suffers a horrible narrative fate to punish her for becoming too modern and breaking familial tradition and traditional female roles. Takako fears her daughter will end up like Akima if she doesn't have both parents raising her and decides to return to her husband. When she informs Shukichi he nods his head and says she'll be successful this time if she tries. Takako looks like a woman heading to the guillotine, painfully aware happiness is not in hers or her daughter's future. After Takako moves out the maid helps Shukichi get ready for work, the birds are singing, the sun is shining and the swelling music tells you this is a happy ending. Maybe for Shukichi it is, but not for his children. Somehow this father remains blithely unaware of his unhappy role in the dissolution of his marriage and the sorrows of his children.

As I mentioned, the framing and shots were among some of my favorite. Ozu's use of light and shadow relegated some scenes to true artwork. Mostly, the score was pleasant enough though the music's bright tone during a tragic time seemed out of place. Ryu, an Ozu regular, did well as the quiet authoritarian father. While this may have been my favorite Hara Setsuko performance thus far, she showed a variety of emotions instead of smiling most of the time, it was distracting knowing that she was only 3 years younger than her "mother" in real life. Arima Ineko was called upon to show a complex array of emotions as she dealt with her family, her irresponsible and selfish boyfriend, and sitting alone making decisions beyond her years and succeeded. The acting though often subdued as it is in Ozu's films felt more thoroughly rounded than usual. All of the characters felt like real people. Ozu's insistence on some characters staring directly into the camera while saying their lines is still a detracting custom for me.

The whole thrust of this story came down to the idea that the family was destroyed because the mother found love while the husband was stationed in Seoul and left upon his return. The daughters didn't have a proper female presence which ended up corrupting Akima. A father's love could not make up for that, even though Takako did not go off the rails. Akima had sexual relations with the boy she loved and was punished in every way for it while he escaped with no repercussions. If the doors of propriety could have been cracked opened for real communication, she might have been able to talk with her father or sister to seek support and help her make the decisions she needed to make. Takada was chained to a man who didn't love her or their child and was abusive. She returned to him because it was the "right" thing to do. And her father simply smiled benignly instead of seeing the fear in his daughter's eyes and supporting her. I know Ozu had a father who was often gone, working in another city, but somehow he missed how a vicious drunk and emotionally vacant father can scar a child forever even more so than an absent one.

This was not a story of reconciliation or redemption, but of punishment and retribution all tied up in a polite, proper bow. Each of the female characters were left in pain and an uncertain future with no chance to start over. The men all went about their happy way. I can usually either follow Ozu's train of thought or make excuses for him, but not this time. Even though his viewpoint was a common one in the 1950's, I was appalled at his treatment of women in the name of tradition and family unity.

2/20/23

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