Source: ez board kung fu fandom member peringaten

1. DISCIPLES OF SHAOLIN: Quite simply, in my opinion (emphasis), the finest kung fu film ever made (emphasis on the 'kung fu', not a general martial heading inclusive wuxia, fantasy, modern, etc.), or again, that I've yet seen. Honestly, with all the diversity, all the different films and styles and individual merits of each, (now inclusive the afforementioned header), none have stood out for me like this one. And A LOT have stood out for me. I honestly believe this Chang Cheh's greatest achievement - which again is kind of a moot point, especially concerning the phases, periods and differing concerns worked into such a prolific output throughout.

I can also genuinely understand why this film will not affect others remotely similarly to the way it has me; of course, all dependant upon preference. Whilst I honestly believe it his finest crafted film, I can definitely sympathise it's in no way his most fun - unless like me you're digging on the crafting of it all. In which case I personally think it's his most engrossing.

Put it this way - I think this film is the finest character study I have ever seen from this genre. It also represents.... blah, blah, blah - to be continued and edited...
This fucker romanced me like no other. I am in love with this film.

DON'T WORRY ABOUT ALL THIS TEXT - I'M GONNA EDIT IT ALL DOWN, NICE CONCISE AND SUCCINCT. Just want to do the film justice.

it's probably one of the finest crafted films vital director Chang Cheh ever made; not his most fun for many by a long shot - for me though, yes - certainly one of his most realistic instead; certainly one of his most experimental, so far as playing with the conventions of technical filmmaking goes; certainly one of his most character driven studies - one of his deepest; and with a great showing of proper traditional Hung Gar fist martial forms - a beautiful opening display!! No acrobatics or such eye candy - just true forms against a plain background with a fantastic musical swell.
It lacks particularly strong central villains in the usual martial sense - this is a different type of film. More a character study of a kid particularly gifted amongst foes; and focuses around the fate of a cotton mill - not remotely the most gripping plot for most viewers considering the extremities of the genre, but I find that a strength - it's much more authentic than the usual...
Most importantly, director CC is almost never on such form as here, and he made some brilliant films (saying that though - those who love crazy choreo will disagree and cite other flicks - I'm talking straight beautiful character driven crafted cinema as I perceive it) - this is his peak of excellence I believe - the black and white scenes (the majority of the film is colour) mixed with the most tremendous swells of music hit hard and emotionally. Perhaps the most beautifully musically constructed kung fu film of all time, entirely despite the borrowed nature of the soundtrack - characters have themes, situations too - just deftly done. Lead actor Fu Sheng gives the performance of a lifetime...
Basically most kung films I dig for badass factors, I overlook flaws, etc. for extremities, fun, outlandishness, other forms of craftsmenship in lieu. This film truly romanced me - I fell for every aspect of it. Love.
I tried it on a mate the other day... not his bag, he wanted something that hit harder - I don't know if it's just because I'm getting deeper into the genre - but so far as I'm concerned this is the apex of kung fu filmmaking. I'm besotted. I can't even describe...


2. TIGER KILLER: Respect.
Anyone who tries to tell you all old-school films are plotless, low budget, poorly acted schlock should be made to sit down and watch this film in a Clockwork Orange stylee before being made to humbly eat such ridiculous notions accordingly.

This multiple award winning film is literally a masterpiece and one of my all time favourites.

Ok, its not strictly a martial arts film bar a scuffle or two, an actual fight with a tiger, a few acrobatics here and there, and a furious Tang Chia/Wong Pau Gei-orchestrated finale theres not a whole lot of fighting going on in the usual animal forms and shape-pulling kung fu sense, but much about it qualifies it of interest for the genre fan.

Released in 1982, this Shaw Brothers film represents arguably (but specifically to my mind) auteur director Li Han Hsiangs finest achievement, which if you are in any way familiar with Hsiangs work is probably quite a bold statement (particularly consiring the markedly different Last Tempest in my case)
Of all the remarkable directors to grace Shaw Brothers studios over the decades Li Han Hsiang is undoubtedly in the running as perhaps their finest, not necessarily their most entertaining mind though, or even my favourite but truly a world class talent for the ages, at the top of the tree.
I must stress, with the exception of this film and elements of his classic Emperor Chien Lung series, Li Han Hsiang was NOT a martial arts film director
Working prolifically at Shaws from the 50s onwards he pretty quickly established himself as one of their most respected, top draw, and successful directors. In fact so much so he was entrusted with, and called the shots on some of their biggest productions, helming perhaps their largest ever in 1975s historical epic (definitely not kung fu) The Empress Dowager and its sequel The Last Tempest the following year.
As was his want he stamped an incredible signature style on everything he did, to the point that in many ways he really helped to define the overall classic Shaw Brothers style, regardless of genre.

He found his first real successes with the Huangmei Opera genre of film of which he pretty much pioneered. Huangmei opera, a form of musical play as its name would of course suggest, derived from traditional Chinese folk songs and dances in the 18th century. Directing his first Huangmei Opera in 1958s Diau Charn; a decent success, Shaws happily upped the budget for Hsiangs subsequent Opera films. The even more popular The Kingdom And The Beauty followed before Hsiang and Shaws hit pay dirt with the 1963 classic The Love Eterne (a film even remade by director Tsui Hark years later).
Huangmei films were often simple linear tales of morality, love and tragedy in traditional Chinese settings with the cast emotionally singing their way through the plot, often with women in the role of men; however as the genre was milked throughout the mid-60s its popularity died out.
The Love Eterne was a smash hit all over South East Asia (particularly Taiwan), the sort of film you hear about running in theatres for years with individuals seeing it nigh on hundreds of times.

Anyway the reason Im going on about all this is to highlight the work of this great director and his influence No expense had been spared on the production of The Love Eterne, with perhaps its main influence towards later Shaw films being in the set design. They really went overboard on the sets for this one literally bringing the outdoors indoors for full elemental visual control to staggering effect, a trademark for with which Shaw Brothers consistently just upped the ante time and time again through to the mid-80s. As you perhaps well know, some of their sets have to be seen to be believed as they repeatedly created mind-boggling escapist insular worlds at their whim who would have thought martial arts films could look so good!
Following his earlier successes Hsiang went on to become a director of (non-musical) historically grounded films of great repute, no expense or antiqued detail spared, cinematography of the highest order and the finest acting talents on offer. Literally showing like no other the full might of Shaw Brothers in full force; a flagship auteur. He also divulged very comfortably and fondly into making erotic movies churning out many bawdy period romps, which along the way helped fund the period dramas he so masterfully created.

Anyway, thats what makes this film, Tiger Killer, so special; this one great talents foray into the hardcore revenge themed genre. The film is somewhat of a take on the well known tale of Lotus Pan taken from the classic text 'Outlaws Of The Marsh' which also bore the 108 heroes Water Margin legends, but here emotionally geared to the extreme
He literally pushes 3 of Shaw Brothers finest actors beyond their limits: Ku Feng and Wang Ping, who won best supporting actor and best actress at the 1982 Golden Horse film awards respectively, and Shaw martial stalwart Ti Lung.

Ku Feng is the most criminally unrecognised actor, particularly by Western audiences, I have ever come across. The man is a character acting genius, a man who commands celluloid with a gravitas that the best any nation, including Hollywood, could ever offer would find hard to match. Ive seen this man in performance after performance, from untold kung fu films to drama, and he never fails to amaze. So convincing and wildly varying are his roles that I saw umpteen of his movies before realising they were all the same guy! He mastered all his parts from emperors to commoners, to hoodlums to old patriarchs with an unmatched ease.
This film is perhaps his single most definitive performance. He draws you in to his characters world in the most remarkably convincing emotive way, however, and get this he does it playing a deformed MIDGET this is a full grown man were talking about!

Right so far we have Shaws at the height of their experience, one of their finest directors tackling MA revenge themes, and their finest character actor in his most challenging role - next ingredient, Wang Ping
Wang Ping, an intensely beautiful actress truly goes out on a limb here to give an awe-inspiring performance. Having acted for Shaws in the early 70s in influential classics the likes of King Boxer before leaving for Taiwanese productions she was coaxed back to the studios by Li Han Hsiang for this film (man, did he make the right choice there!). She plays the adulterous Lotus Pan, a woman forced to marry Ku Fengs midget character after getting caught in a compromising situation with her advantageous old master.
Not afraid to get naked for the role, and it really is in the name of art, her performance is simply brilliant and daring, not only that but she plays a woman with tiny bound feet (her real ones normal, yet convincingly bound upon tiptoe) nuff said!

Next up, Ti Lung... Of course, one of the all time legends of martial arts cinema, Ti Lung was one of Shaws biggest stars in this respect. Here, in one of his most emotionally involved performances, he plays the fully formed heroic younger brother to Ku Fengs midget. After fleeing the town where he and his brother live in poverty having taken some casualties in a fight, and after a number of years training in the Shaolin temple he returns a local hero having killed a tiger that was terrorising the town's outskirts - with his barehands. Finding his brother married to the amorous Lotus Pan he soon discovers her frustration and dislike of being forced to marry such a lowly midget pauper, and soon discovers the distasteful measures she and her adulterous accomplices (including Liu Yung, a frequent face in Bruce Lee's films) will go to remedy such a situation.

The scene is set for some of the greatest and bleakest revenge imaginable, with our final fight, whilst lacking in the martial shapes and forms many purists desire from their kung films, more than exceeding expectations in its spine tingling emotional intensity. It truly is a fine piece of cinema as the tremendous interplay between the actors steam trains the film (as it did my involvement) to its knockout of a conclusion, wonderfully orchestrated by legendary choreographer Tang Chia and regular partner Wong Pei Gau. HARDCORE.

Now I have to say a little note on the unique interplay between Ku Feng and Ti Lung within this film. So far as I'm concerned together they make up one of the finest celluloid partnerships I've ever come across, not necessarily in so far as just being paired up as a team, but in so far as just sharing screen time together. The empathy between these two is incredible - they both inspire the other to greater heights of performance every time they appear together. I guess as players at the very top of their game within the Shaw empire; one their leading character actor, the other their heroic leading man; there was a lack of any real competition between the two, resulting in a pure spontaneous and appreciative interplay within the numerous films they appeared together. No film I've seen exemplifies this greater than Tiger Killer, the emotional bond of brotherhood themed within this film taken to a level few if any actors could ever hope to achieve. They take this film to a height of emotional investment on the viewers part few others could parry.

The production itself is really high level, with a beautifully orchestrated and evocative musical score, a well developed somewhat unpredictable storyline, and otherworldly sets and cinematography. The sets themselves are breathtaking, as we actually see them skilfully blend through the seasons to denote the passing of time and mood. From a snow laden winter, through spring and summer and the blooming of the plum blossoms, they are an epic filmic achievement. Perhaps the only questionable scene is the tiger fight itself, whilst a real tiger was used for the long shots, grappling I guess its trainer doubling Ti Lung, the interspersed close ups featuring our star show an obvious stuffed animal. Now I know most MA actors push themselves for their performances, but I doubt too many were about to go ruff n tumble with a live big cat If anything such minor schlocky moments here and there in relationship to the rest of the film's rare majesty remind that if anything this film is an entertainment masterpiece. Give in to this film, it really is a one off.

Right at the very top of my favourites list, all films, all genres, of all time.


3. ONE ARMED SWORDSMAN: 1967 saw the release of this, the first martial arts film to gross over $1 million at domestic box office, making its star - Jimmy Wang Yu a huge sensation over Asia, and casting a prototype for all future MA stars to follow.
Definitely not a great martial artist the likes of those that followed him, he actually joined Shaws as a swimmer, the discipline giving him the athletic standing to pull off such demanding roles. Plus it helped that the man was a badass who bled charisma on-screen... some may disagree... I think this film alone is more than testament to such standing.

Given his prime breaks by director Chang Cheh, this film really broke the two of them loose. Scripted by director Chang Cheh and I Kuang, here they came up with, to my mind, perhaps the ultimate martial movie plotline, one that is utterly timeless and influential... I'll try and avoid too many spoilers...

As a child our young protaganist witnesses the death of his father, a servant, protecting his poisoned master from ambush. Despite being mortally wounded, and his sword actually broken in two our young hero's father fights to the bitter end slaying the attackers. As he lays bleeding to death his weakened master, himself a great swordsman, promises, in return for such loyal service to raise the about-to-be-orphaned son as his own.
As our young hero's father dies in front of his son, the child takes hold of said broken sword...
Cut to the young adult Jimmy Wang Yu (his character's name - Fang Gang), some years later cradling the broken sword (and now a fine martial artist) to the opening credits and a phenomenal appropriated musical score and you know this film's gonna mean business.

What proceeds is an almost fairytale-like (in the best dark fashion) story following the unfortunate mishaps of poor Fang Gang, told in a finely immersive consistent linear framework.
We witness as he's rejected by the master's real children and priviledged students as a mere servant's child, ultimately even losing his right arm because of this.
Now this to me was the most shocking part of the movie as upon first viewing i just wasn't expecting it to happen in this way - i knew he'd lose an arm, but i just weren't expecting it like this.
I'm going to avoid saying how, but for me this film was all the more real for the way it happened.
Director Tsui Hark remade this film in the mid-'90s as "The Blade" and was quoted as saying (seriously paraphrasing here) that a martial artist would never lose an arm like this - it should happen in battle. Nah, my man Tsui - that sucks. They did it perfectly here. The notions of fallibility, chivalry, and the castrated swordsman.

Sure this film has its faults - the fighting, though swift and effective, is now very dated, some bits are just too coincidental - he loses his right arm but gains a manual ripped in half containing only the left arm fighting techniques, with which he develops a one armed fighting style(!) - Plus, yeah you should have way more blood loss if you lose an arm...

But none of this matters - the film is an escapist's dream, full of fairytale martial wonder. If you can suspend disbelief, you are presented with a stylistic wonder of audio visual entertainment. This film has soul and charisma coursing through its every frame.
A marvellous timeless plot that deals with themes of isolation, despair and acceptance with all the responsibility and hurt that comes with being a part of the martial world, and the quest for peace.

With some truly memorable stylistic flairs, the dreamlike snowy sets and accompanying music, and the fantastically memorable scene of a masked Wang Yu fighting in the dark, pure style bottled on film, Chang Cheh presents us with one of the finest early swordplay epics and the definitive performance of a young Wang Yu. He just plays it cool. The teahouse battle towards the end is the perfect highlight of this - one of old school cinemas coolest fights - facing numerous enemies, and with just the right amount of stress, anger, want for peace, coolness under pressure and numerous other emotions coursing through him that define the film's tones, ol' Jimmy Wang plays this motherfucker to a T.

Many fans have their favourites in the crippled fighter genre, but this was the one that blew it all up, and to my mind did it the best - the underlying themes and superior innovative stylings elevate.

4. 8 Diagram Pole Fighter.
5. Devil's Mirror.

6. THE LAST TEMPEST: Li Han Hsiang has here once again proved himself to be Shaw's greatest filmmaking talent in my estimation...

Could "The Last Tempest" be Shaw's "best" film of the '70s... as regards pure filmmaking finesse, production, relevence even, in most respects (not however in the sense of pure visceral entertainment, as you may imagine).

Personally I of course veer towards kung fu productions to get my Shaw kicks, but in the sense of artistic 'truly cinematic' achievement have seen nothing else to rival this film from the studio's '70s output... for one, the cinematography sets this film apart, no antiquated detail spared, every shot masterfully composed. The sets never looked better - A moot point perhaps, but: if only every Shaw film could capture them this mightily.
Every actor is in remarkable form, Lisa Lu particularly magnificent, Yueh Hua leaping notches in my estimation for a nigh-on film stealing performance...

This film's earlier companion piece "The Empress Dowager" was a good film, however one with which I partially struggled as regards pacing, staging and theatricality... a superior film, well worthy of respect, but lacking that certain something over production value to really push it up there I felt...
However having now seen The Last Tempest, the predecessor seems like somewhat of a dry run towards the greatness of its engrossing follow up... a standalone film.
The Last Tempest just seems more intricately constructed, more deftly woven and balanced to create the whole...

And most importantly packs the resonance to suggest the bigger picture outside of its intimate portrayal of the inner monarchical power struggles...
Something I felt partially didn't come across within "The Empress Dowager's" more drawn out, even slightly theatrical large scale presentation, here now delivered to the epic yet more personable hilt.

Every nation has a few great cinematic works stemming from each decade...
Could this be the finest achievement of HK cinema as a whole from that decade even...?? Not in terms of influence, or perhaps 'entertainment', but in terms of sheer cinematic artistry. Perhaps cultural or historical importance as regards subject matter...


7. Killer Constable.
8. Shaolin Intruders.
9. Rendezvous With Death.

10. WHAT PRICE HONESTY: WHAT PRICE HONESTY!! This film is NICE!!

Now this is what I want from my Shaw flicks! This film brings the DARKNESS!! No stupid comedy or light moments here!! This film is about:

Smashing things.
Fighting.
Beheadings.
Corruption.
Greed.
R.O.U.G.H. Justice.
Stabbings.
The Guando.
Sword Slashes.
Dirty dank cells full of rats, centipedes, cockroaches and crazed criminals.
Hanging.
Humiliation.
Robberies.
Cops.
A Funeral.
Nudity.
Attempted rapes.
Arrows.
Slaughter.
Unfounded punishment.
More smashing things.
More fighting.
Framings.
Loss of appendages.
Thunder.
Rain.
Torture.
Beatings.
The bleakness.
The darkness.
Little redemption.
Blood.

Hell, this film starts as it means to go on! A credit sequence of swords and fire!! And blood!! And fire!! And swords slashing blood which drips to wash out the fire!!

Man, this film rocks HARDCORE. Doesn't let up - all about the drama. When it lets up from the smashing and stuff, it has nice dramatic scenes building the tension and characters, with some badass music use - nice sets, and verve. Great plot - unpredictable, VERY nicely balanced, unfolds brilliantly, and got me on the edge of my seat with a few jaw dropping moments. I let out a long "DAMMMNNNN!!!!!" when it finished.

I think what I liked about it was how harmoniously it balanced the narrative framework and the more visceral immediate elements. It's almost as if they made a list like that above and said right this is what the film's about - let's construct it around all this... Yet somehow strung all that into what seems like a perfect framework - as if the framework came and just supported the inclusion of these elements alongside and within its nice rolling twists and themes... Mild spoiler here: One thing that really grabbed me, and for sure deftly balanced the whole flick out yet further was the nice juxtaposition of the Temple Of Chivalry setpieces either side of the film's running time. The way the parallels of Pai Piao's and Lo Lieh's opposing characters reflected each other into mirrored actions yet their different standpoints ending up in a similar scenario. Great stuff. Satisfying in all respects imo; worked on a couple of levels inviting you to think or just sit back and enjoy the corruption. What price honesty indeed.

This film delivers! The fighting's nice - not so much about the shapes, but enhancing the plot and darkness. Obviously late era Shaws choreo, and plenty fighty, but the film is more roughhousing and bruising than straight-up kung, though the movements are there. Swordplay mostly, but we get a couple of fights with chains, knives and guandos, etc... For instance Sun Chien's in there, but you won't see him kicking, more nicely jabbering about with a sword. There is no undercranking, and what the fighting pace is (not overly speedy generally, but nice) fits the film extremely well. Don't expect venoms type choreo, but do expect some nice rough scenes. There's a great one vs many sword and spear fight in that teahouse we see in Human Lanterns and Tiger Killer where everyone goes for it. Good stuff. Constables barreling about with swords and things. Casualties...
Feels designed as an action flick to me.

If I had one complaint it would be the lighting in places seemed a little stagier than the usual Shaw production (odd shadows and stuff), but that's kind of moot when considering the nicely set scenes.

Director Yuan Hou Chan, seemingly young and full of verve, knew the score when he was making this flick - keep it dark and rolling. I'd call it an action flick - a dark action flick. In the positive sense, wonderfully darkly schlocky and exploititive and a WHOLE lot of asskicking fun.

Though not too similar... a gem in the manner Soul Of The Sword turned out to be seems an apt descript... This film puts the likes of Secret Service Of The Imperial Court and Deadly Secret (films with which it bears very vague similarities) firmly in their place imo, for want of a better descript if you get my gist.

A BLEAK TREAT!!!



11. KID WITH A TATTOO: I absolutely love Kid With A Tattoo - some seem to think it a lesser Sun Chung work, but man, of his films, it's one of those that REALLY grabs me - probably my most rewatched of his.

It's kind of similarish to Sun Chung's My Rebellious Son in tone, pairs up very nicely, but sub Fu Sheng for Wong Yue - kind of akin to the way Rendezvous With Death is similarish in tone to Avenging Eagle.

I think I like Kid more than MRS. The choreo in Kid is solid, nothing too exceptional, but nice, but mixed with the direction, the cuts, slo-mo, tracking shots etc., it's wonderful, and then exceptional. Sun Chung shows why he's one of the VERY best here - a true testament to his ability, particularly technically (the term here incorporates a soulfulness which leads to his technical coherence and particular unique genius to me) - just the sum parts of this film don't provide the raw material to make it one of the best.

I can agree it's not the best of Sun Chung's films in most respects - the story is alright, the end not the greatest, the choreo just solid, the comedy just endearing (but I found it a lot of fun - never grating), the characters kind of non-exceptional - BUT the sheer fun and flair of it all makes it one of the most satisfyingly curious and appealing of all his to me - the one I'll revisit most for sure.

Just when it hits right, certain exceptionally masterful sequences, I'm taken. Catharthis. Don't expect a lot and see it for what it is - imo, proper fluff constructed with a real genius. Still fluff and in some respects lesser Shaw stuff, but kind of elevated; soooo well crafted in several respects, lovingly so - it's a wonder, beautifully done, mediocre, a shame, and brilliantly masterful all at the same time.

Can't describe it any other way. Wouldn't have it any other way. Some sort of schizo manna in affect.