REVIEW #8: THE SWORD AND THE LUTE (1967)

REVIEW #8:

 THE SWORD AND THE LUTE (1967)

Released on April 24^th, 1967, THE SWORD AND THE LUTE is part three of a trilogy that began with [TEMPLE OF THE RED LOTUS (1965) part one] and [TWIN SWORDS (1965) part two]. It continues the adaptation of Jiang Hu Qi Xia Chuan (Shang Xia), a wuxia novel written by Ping Jiang Bu Xiao Sheng. Produced by Sir Run Run Shaw, once again directed by Hsu Tseng-Hung and also once again screenplay and assisted directed by Shen Chiang. Song lyrics by Chang Cheh. There are no fight choreographers credited but Shaw Brothers spared no expense with this all-star cast extravaganza. Let’s get busy!

The Yin Yang Swordsmen

Chin Ping as "Gan Lianzhu"

Jimmy Wang Yu as "Gui Wu"

THE SWORD AND THE LUTE (1967) features three treasured weapons. Treasured weapons in wuxia tales are weapons made of the finest materials and include a mystical quality that can be viewed as sort of a super power. In this movie the treasured weapons are: The Invincible Sword (aka the fish intestine sword) which cuts all kinds of iron, The Phoenix Lute, a weapon of mass destruction that hurls scores of hair thin poisonous needles. The Phoenix Lute can only be destroyed by The Invincible Sword. Finally, there is The Seven Stars Stone, the Shen family heirloom that is the only way to heal someone injured by The Phoenix Lute. 

THE INVINCIBLE SWORD

THE PHOENIX LUTE

THE SEVEN STARS STONE

THE SWORD AND THE LUTE (1967) takes place some time after the conclusion of THE TWIN SWORDS (1965), which featured the Gan family’s raid on The Temple of the Red Lotus to rescue their third generation’s daughter, Gan Lianzhu from the clutches of the Red Lotus Clan. The movie begins with the Yin Yang Swordsmen (Gui Wu and his wife, Gan Lianzhu) leaving the Scarlet Maiden’s residence with two instructions: number 1. do not use the Phoenix Lute and number 2. destroy the Phoenix Lute with the Invincible Sword.

THE FLYING TIGER CLAN

On their way to the Gan Residence to use the Invincible Sword to destroy the Phoenix Lute, Gui Wu suggests they cut through the woods, doing so they run right into an ambush by the Flying Tiger Clan intent on robbing whomever would pass that area of the woods. The Yin Yang Swordsmen are highly skilled but the Flying Tiger Clan is present in great numbers. Seeing the men surround his wife, in spite the Scarlet Maiden's warning not to;  Gui Wu grabs the Phoenix Lute and fires into their attackers injuring many of them and causing them to retreat. 

Gan Lianzhu scolds Gui Wu

Master Wen spying on the Yin Yang Swordsmen

One of the Flying Tiger Clan’s members is unhurt but intrigued by such an astonishing weapon and he sneakily follows the Yin Yang Swordsmen as they leave the scene of the ambush and rest near a small waterfall. He overhears some valuable information and then realizes they have left a valuable prize unguarded! Let the games begin!

Yueh Hua as Shem Shuwen

"Where is the Seven Stars Stone?"

CAST REPORT:

the good: Chin Ping as Gan Lingzhu, Ivy Ling Po as the Scarlet Maid, Petrina Fung Bo Bo as Miss Sun / Gan Xiaoling, Jimmy Wang Yu as Gui Wu, Yueh Hua as Shen Shuwen, Lo Lieh as Du Ying, Pang Pang as Daxin.

the bad: Lily Ho Li Li as Wei Mei Er, Cheng Miu as Flying Tiger Chief Master Wei Fei Hu, Lee Wan Chung as Master Wen.

HONORABLE MENTION: Wu Ma, Lee Ho, Chang Pei-Shan, Tang Chia,  Liu Chia Liang, Liu Chia Yung as members of the Flying Tiger Clan.

SPOTTED: Cheng Kang-Yeh as a Shen family servant

Cheng Kang-Yeh is spotted!

FIGHT TIME: Despite Liu Chia Liang and Tang Chia both being present in this production, THE SWORD AND THE LUTE (1967) does not have any fight choreographers credited. Never the less I counted seven (7) fight scenes in the movie’s eighty-seven minutes making for a fun filled, action packed, wuxia extravaganza! For its time, the fight scenes are top notch and natural, making them easy to enjoy. I would certainly not expect any less with the many, highly experienced martial art actors on this project.

HONORABLE MENTION: The grand melee fight at the Master Shen's Aunt's Mansion is a tremendous scene of organized chaos, delightful! Also, Lily Ho Li-Li was a fantastic addition to the cast and her fighting ability lives up to the expectations for her character, bravo!

RECOMMENDATION: THE SWORD AND THE LUTE (1967) is an all-star cast, continuation of a great adaptation of a well-love Chinese novel. Not only is it presented here in great form but it is worthy, not only of a remake but adding additional chapters as well. Anyone of the major characters could also be spun-off into their own adventures. I highly recommend this movie for all viewers and collectors of wuxia movies at all costs. See you next time.

  

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NEXT UP: THE THUNDERING SWORD (1967)

Review #7: THE TRAIL OF THE BROKEN BLADE (1967)

Review #7: THE TRAIL OF THE BROKEN BLADE (1967)

Released March 4, 1967, THE TRAIL OF THE BROKEN BLADE was produced by Sir Run Run Shaw. The prolific Chang Cheh directed, scripted and wrote the lyrics to the songs. Based on the title, I would say this production was influenced by the popular westerns of the day in the movies and on television. As far as I can tell, this is the first "eastern / western".  The skilled team of Liu Chia-Liang and Tang Chia did the fight choreography. Let’s get busy. 

Kiu Chong as Fung Jun Zhao

Planning the caper

The prize!

Fang Jun Zhao is one of the top, up and coming students of Wu Dang Mountain. While on his way back to Wu Dang, he stops at a very small in  Guandong Province for a rest. From the room next door he overhears a planned robbery of the household of retired Commander-in-Chief, Liu Xian. The bandits planning the robbery are persuading the younger son of the Flying Fish Island Clan Chief named Tu Hu, to help them because of the superior martial arts of the Liu family. The head bandit entices Tu Hu, not only with the promise of plenty of money but with a description of Liu Xian’s daughter, Liu Zhen’Er as the village beauty and how he could enjoy her thoroughly as she is “a perfect match for someone as bright as you.”

Later that same night, the bandits attempt the robbery but Fang Junzhao assists Liu Xian and his daughter the end result being all of the bandits dead and Tu Hu severely wounded by Fang’s dart and escaping back to Flying Fish Island. 

After the crisis, Liu Xian asks Fang Junzhao to stay a few days and instruct his daughter in the way of the sword. What Zhen’Er’s father really hopes is that Junzhao and Zhen’Er form a bond and then fall in love so that his daughter can forget her childhood love: Li Yue. 

Li Yue is the son of the former Commander-In-chief of Zhejiang, the great hero, Li Tian Cong. Tragically; this great hero was falsely convicted and imprisoned all for the benefit of a crooked Imperial Minister. After his father died in prison, Li Yue murdered the Imperial Minister and has been on the run ever since.

When Fang Jun Zhao hears this heartbreaking story from Zhen’ Er's lips his chivalry takes over and he swears a platonic friendship with her and vows to find Li Yue and unite the two lovers to prove his honor and their friendship. 

"I must find Li Yue of Jiangnan"

Meanwhile, Tu Hu has made it back to Flying Fish Island but his injury has taken the ultimate toll as he offers up the fatal dart to answer his family’s question of “who has done this to you?” His father orders his eldest son to take his four henchmen with him to find this Fang Jun Zhao.

So we have the two sets of travelers headed to their destinations fated to meet each other and provide us with this early tale of the Jiang Hu and the chivalry of heroic bloodshed.

Jimmy Wang Yu as Li Yue of  Jiangnan

CAST REPORT

the good: Jimmy Wang Yu as Li Yue / Jiang Qi. Kiu Chong as Fung Jun Zhao. Chin Ping as Liu Chen Erh. Lisa Chiao Chiao as Shi Xiao Mei. Wei Pin-Ao as Shi Gan. Fan Mei-Sheng as Hu Zi.

the bad: Tien Feng as Chief Tu Qian Qiu. Chen Hung-Lieh as Tu Long. Wang Kuang-Yu as Tu Hu, Leopard Skin.

SPOTTED: Liu Chia Liang, Tang Chia, Liu Chia Yung, Wu Ma, Cheng Lui,  Cliff Lok and Pang Pang.

HONORABLE MENTION: According to HKMDB and the release date of THE TRAIL OF THE BROKEN BLADE (1967) this is Yuen Shun Yi’s (of the Yuen Clan) first movie appearance.

Liu Chia-Liang

FIGHT TIME: THE TRAIL OF THE BROKEN BLADE (1967) features the fight choreography of Liu Chia Liang and Tang Chia. I counted 6 (six) fight scenes including its very long finale in the one hour and forty-four minute movie, which to be honest, is not quite as much as in past movies. With the genre being only 7 projects old in the span of two years, I am mindful to not be too harsh in my analysis of the techniques. Using a system of “pass” or “fail” this movie’s fights are definitely a “pass”.

HONORABLE MENTION: Jimmy Wang Yu looks excellent in his fight scenes and director Chang Cheh wisely gives him the majority of the screen time and stunts. 

RECOMMENDATION: THE TRAIL OF THE BROKEN BLADE (1967) has enough characterization, plot and action to entertain you and hold your interest. As the first “eastern / western”, and an early Shaw Brothers classic it is also certainly collectible. Therefore it should come as no surprise that I call for you to take out your cards or cash and pick this one up as a “must have”!  On a personal note I would love to discuss as a film group just what is it that motivates a writer / director to resolve a story in the controversial way that Chang Cheh does in this movie. That’s it for now, see you next time.

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NEXT UP: 

THE SWORD AND THE LUTE (1967)

Review #6: THAT MAN IN CHANG-AN (1967): the first kung fu comedy!

REVIEW #6: 

THAT MAN IN CHANG-AN (1967): the first kung fu comedy!

Shaw Brothers’ first movie of 1967, THAT MAN IN CHANG-AN (1967) very quietly set history as the first wuxia / comedy ever made. Released February 18^th, 1967 it was produced by Sir Run Run Shaw and directed by veteran director Yan Jun. Ting Shan-Hsi wrote the script, only his second film, but the film he wrote before this one was the great COME DRINK WITH ME (1966) in an effort with King Hu. THAT MAN IN CHANG-AN (1967) is not as popular as other Shaw Brothers films of this period and while I have read other reviews of this movie there is not a lot of information on the making of the film and the audience’s reception of it. So we will just dig in and experience it for ourselves, in other words – let’s get busy!

KEYSTONE COPS chase scene

Empress Lu wants to replace the king of Zhongdu with her nephew. She sends an Imperial Edit to her nephew, General Lu Kun to assassinate the king of Zhongdu, King Dai Liu Heng and take his place as king in that province. So, General Lu Kun puts a scheme in place to frame King Dai Liu Heng for treachery so he may take the king’s head but when it comes time to take the king’s head does he do it? Noooooo, he decides to hold the king’s mother hostage and the place the king under house arrest so that he can marry the king’s sister and… what in the world is he doing?!? 

It says we are a comedy... what's a "comedy"?

It does not make any sense but spoofs rarely do. This delightful send up of the plot devices used in the spy movies that were coming to be popular in the sixties was a great idea but to set it in ancient China is probably where it threw everybody off. The movie itself is very funny in certain places but defies logic in just as many places and so while one should only have fun with it, the movie is set in a genre where everything is taken very, very seriously. What a challenge!

And what am I --blind?

Kim Jin-Kyu aka the Masked Man aka That Man in Chang-An aka Zhuang Bai the alchemist

CAST REPORT

the good: Kim Jin-Kyu as Zhuang Bai aka, The Masked Man aka, That Man in Chang-An. Fang Ying as Princess Wen Yang. Alison Chang Yen as Hong-er. Tien Feng as King Dai Liu Heng. Yan Jun as Cao Wu.

the bad: Park Nou-Sik as General Lu Kun. Cheung Kwong-Chiu as General Zhang. Chiu Ming as General Tian Ying.

HONORABLE MENTION: Kim Jin-Kyu as That Man in Chang-An. Mr. Kim totally sells his character as comedic when he has to and serious when he needs to, perfect casting!

SPOTTED: Fan Mei-Sheng as Cao Wu’s waiter. 

Fan Mei-Sheng 

What do you mean "you have to go??!"

FIGHT TIME: THAT MAN IN CHANG-AN (1967) has no fight choreographer credited. I counted eight (8) fight scenes scattered throughout the movie. For the most part they are short scenes with the exception of the four-minute finale. These fight scenes are basically by the numbers “one, two, three – kill” sword fights, rarely (there are exceptions, mostly during the finale.) more that two attackers at a time no matter how many soldiers enter the scene. There is also some last minute under cranking during the finally that just adds to the humor of the entire film, believe me, you do not watch this film for the fights.

HONORABLE MENTION: Alison Chang Yen’s (as Hong-er) double daggers versus soldiers with swords and spears fight scenes with its very direct maneuvering and quick-kill counters, were the best fights in the entire movie hands down. No nonsense, practical self defense techniques, bravo!

RECOMMENDATION: THAT MAN IN CHANG-AN (1967) is an automatic recommendation as a purchase because it is collectible as the first wuxia / comedy ever made. I was very animated while watching this movie with its the humorous moments and with the sheer ridiculousness of some of the scenarios presented, so I am definitely recommending it for the average viewer for pure popcorn entertainment! This movie is funny, period. That’s me for now, see you next time.

If you liked this review please comment on the blog, become a follower of the blog, join me on my Facebook account by sending me a message first and then a friend request so I know who I am friending (  https://www.facebook.com/Michael529P   ) and like my Facebook page: SHAW Brothers Kung Fu Movies 1965-1986. I thank you and would appreciate it very much!

NEXT UP: THE TRAIL OF THE BROKEN BLADE (1967)

REVIEW #4:THE KNIGHT OF KNIGHTS (1966)

REVIEW #4: 

THE KNIGHT OF KNIGHTS (1966)

Released May 18^th, 1966, THE KNIGHT OF KNIGHTS (1966) is based on a script by Chang Cheh that according to the website Hong Kong Cinemagic is one of Mr. Cheh’s first foray into the wuxia genre. [Chang Cheh was involved in the planning of TEMPLE OF THE RED LOTUS (1965) and THE TWIN SWORDS (1965)]. Produced by both SHAW BROTHERS it is directed by the multitalented Sit Kwan but unfortunately no action director is credited. 

Lee Wan-Chung as Governor Wang

Tang Ti as the bandit Min Kong

During the Ming Dynasty, King Jing of a southern Chinese province entered in an agreement with the Imperial Eunuch Pei to increase the eunuch’s power with the ultimate goal being to usurp the power of the emperor. To this end, King Jing has enlisted the aid of the bandit Min Kong and his men along with the governor of Haimin, Governor Wang. Min Kong and his men disguise themselves as monks and take over the Zhaoqing Monastery as a base of criminal operations. 

Lee Ying as Inspector Lin

The criminal operations of Zhaoqing Monastery consist mainly of human trafficking but it is done as such a level that the people become very disgruntled. To make matters worse, Governor Wang has imposed unfair taxes and has even seized some of the people’s land from them and this causes outrage among the people and attracts the attention of Imperial Inspector Lin who asks his nephew, Wen Suchen of the Seven Men Of Dragon School to investigate the monastery  and the governor and bring him evidence of their crimes.  

Kiu Chong as Wen Sy Chen

Seven Men of Dragon School (minus one)

Unfortunately when Wen Suchen receives the Imperial Inspector’s orders he is visiting his sick mother so he sends his six classmates ahead of him to investigate in his stead. Although his six classmates are highly trained in martial arts they are no match for the booby traps and the hit and run tactics of the fake monks and are wiped out but with one classmate escaping, barely clinging to his life. Wen Suchen and his two young students come across this same classmate on their way to meet up with the rest of the Seven Men Of Dragon School and with his last dying words he tells Wen Suchen of their failed mission at Zhaoqing Monastery!  

Wen Suchen decides a different tact is called for and goes undercover with his two students as a scholar to Zhaoqing Monastery to face Abbot Min Kong. The three of them battle kidnapping, slavery and uncover a plot to murder Imperial Inspector Lin atop of Guanri Pagoda!

CAST REPORT:

the good: Kiu Chong as Wen Su Chen. Lee Ying as Imperial Inspector Lin. Cliff Lok as Wen Lung. Chow Lung-Cheung as Wen Hu. Lily Ho Li-Li as Lin Hong Yu. Lily Li Li-Li as Hsin Yang. 

the bad: Lee Wan-Chung as Governor Wang. Tang Ti as Abbot Kung Ming. Fung Ngai : senior monk. Fan Mei-sheng : senior monk. Tien Shun : senior monk.

Lily Ho Li-Li 's "controversial" scene for the time (1966)

HONORABLE MENTION: Wu Ma, Ku Feng, Liu Liang-Hua, Cheng Lui, Chen Hung-Lieh, Chiu Hung, Wang Kuang-Yu, Simon Yuen Siu-Tin

SPOTTED: Li Ching as Chin (Carpenter You’s sister) and Bruce Lee’s childhood friend (Little) Unicorn Chan as one of the fake monks in the opening of the film. 

FIGHT TIME: THE KNIGHT OF KNIGHTS (1966) has no fight director credited and indeed the quality of the fights (or lack thereof) attests to the lack of skill in the execution of the fight scenes. The fights seemed to me to be very poorly done with the real martial artist looking only slightly skilled and the non-martial artists looking like they had somewhere else to go and wanted to be killed quickly. Not using a fight choreographer was a mistake and the movie suffers from it. I counted only five (6) fight scenes including the short assassination attempt on the Imperial Inspector –enough for a legit kung fu movie and wisely spaced out to keep boredom from being a factor.

HONORABLE MENTION: It is a long way into the movie but, young Cliff Lok has the best-choreographed fight in the movie and is very convincing in warding off multiple opponents. Kudos

RECOMMENDATION: THE KNIGHT OF KNIGHTS (1966) is not a bad movie per-se. It features an all-star cast and guest stars the crème de la crème of the Shaw Brother studios. The script by Chang Cheh is above average as well. It’s major failing is in the lack of martial art style or weapon focus or of martial art choreography. However because of the full back nude scene it is an asterisk in wuxia film history and so it is collectible and should be purchased for this reason. Feel free to keep it in its sealed packaging so it is worth more money. See you next time!

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NEXT UP: THE MAGNIFICENT TRIO (1966)