Tuesday, April 23, 2024

The Golden Triangle (1975) review


Sombat Methanee (Chat), Lo Lieh (Peter Wong/Tony), Tien Ni (Hong Song Wu), Sawin Sawangrat (Lau Su), Tien Feng (Lo Han), Tanyarat Lohanan (Pon)

Directed by Wu Ma and Rome Bunnag

The Short Version: This ambitious co-production between Hong Kong and Thailand tries to capitalize on the subject of the drug trade within the mountain regions of Burma (now Myanmar), Laos and Thailand making headlines at the time. The first half builds a surprising amount of exposition and pathos while the second half unleashes near nonstop gun battles and a concluding car chase. Watch Lo Lieh--Mr. 5 Fingers of Death himself--ride a motorcycle and use an assortment of firearms in the same clothes he's wearing in BLACK MAGIC and BRUCE'S FINGERS. There's no actual Kung Fu fights, but this expensive (by Southeast Asian standards) rarity is worth the diehard KF fan's time.
Peter Wong is a Chinese drug dealer operating in Bangkok till the authorities discover he has escaped and is on the run. A woman he met in a nightclub helps him cross the border into Burma where he is introduced to Lo Han, a vicious crime boss seeking to expand his drug smuggling business and take out any competition; namely Hong Song Wu, a beautiful woman who inherited her father's opium business. Meanwhile, Chat, another wanted man on the run from the law--who may not be what he appears--finds his way into the jungle and becomes a member of Lady Hong's local syndicate providing armed escorts for the transportation of opium. Chat joins them in their battles against Lo Han deep inside the treacherous Golden Triangle.
The Drug lords paradise known as the Golden Triangle was big news back in the 1970s. American gangsters were making millions smuggling heroin into the United States while Triads grew their bank accounts vying for control of smuggling rings by overtaking transit points. Another movie about trafficking contraband from 1975, THE DELIVERY, touched on this topic by way of couriers who smuggled drugs from Japan to Hong Kong.
The Hong Kong film industry was once again going through changes in the mid-70s. Films like DEEP THROAT and LAST TANGO IN PARIS (both 1972) were emboldening Hong Kong film producers to be more daring in their films' sexual content. Both those titles were banned in HK although screenings of DEEP THROAT did occur in underground theaters. The industry itself was in decline due to several factors including the oil crisis, the rise of television, and the spread of communism that closed off some film markets after the fall of Saigon. 
In 1975, Southeast Asian territories, Thailand among them, imposed stricter rules on films imported from Hong Kong. This led to HK producers opting for co-productions as a way of incentivizing imports while presenting an exotic product for curious foreign buyers. THE GOLDEN TRIANGLE was one such picture. Moreover, there was another Asian movie produced in 1975 with this same title and almost identical plot; the other one stars Yasuaki Kurata and Han Ying Chieh. 
Modern-day crime stories were becoming increasingly popular with producers (if not at the box office). These types of crime pictures wouldn't solidify their place in the industry till the following year in 1976 after JUMPING ASH, an independently produced action thriller, was the #1 hit of that year.  
As for its entertainment value, THE GOLDEN TRIANGLE is surprisingly enjoyable. The cinematographer was Chinese DP Wong Wing Lung; his camera is one of the film's assets. There's some great shots throughout, and not just the sprawling Thai countryside. There are a lot of mid-level angles where the camera is behind certain characters with their guns in closeup. This creates a sense of menace you seldom got in these movies. The images of dozens of armed extras making their way through the jungle gives the impression that some money was indeed spent on this production; and more than was typically allotted.

Lo Lieh, who founded his own production company in 1972 with the blessing of his employers at Shaw Studio, put in nearly HK$1 million of his own money to co-finance THE GOLDEN TRIANGLE with Thai producers. The film made its premiere in Thailand at a charity show and reportedly was a big hit in the country. Apparently, Lo made his money back just in Thailand alone. This was probably helped along by the participation of Sombat Methanee, one of, if not the biggest, Thai stars of all time. Lo Lieh was passionate about this project and heavily promoted it in the various film markets to get its name out there.

Production took between 2-3 months to complete. Other pictures being shot in exotic locales like BLACK MAGIC (1975) kept Lo Lieh out of Hong Kong for close to a year. While Lo was making this movie, he had officially divorced his first wife whose English name was Christine. They had a son together and custody was turned over to her. The following year in 1976, Lo would marry his then live-in girlfriend, Tang Jia Li (Grace Tang). An aspiring actress, Lo put her in the lead role of his DEVIL AND ANGEL (1973), the first film made for his independent company he founded while shooting THE FUGITIVE (1972) at Shaw Brothers. Tang didn't care much for the movie world and decided to be a housewife and mother instead.

Lo Lieh was another actor who was referred to locally as the "Chinese Charles Bronson", or "Oriental Chai Zhan". He was certainly one of the busiest, and in-demand, actors working at the time. Lo gets a handful of good action scenes in TRIANGLE to show off in, even though the Thai star, Sombat Methanee, is the leading protagonist. Lo loved filming there, especially considering the value he got for his money compared to Hong Kong. THE GOLDEN TRIANGLE, with its attractive and tropical locations, were appeasing enough for foreign producers to gamble on the movie. According to Lo Lieh at the time, Italy was paying close to US$100,000 for the license. The source for this blu-ray was an Italian print. It's unknown at the moment if this film played in Hong Kong theaters as Lo stated in an interview in 1975 he was shopping it around to local producers for purchase.

Much like Run Run Shaw, Lo Lieh had his eye on the international market. It was he who set the global dominance of Kung Fu movies into motion with 1972s KING BOXER, released in America as FIVE FINGERS OF DEATH in 1973. Lo had intended to produce a KING BOXER 2 but this never came to fruition. He had such faith in the Thai market that his next project was going to be filmed there. It was to have been another co-production, this time between his company and the two biggest Thai companies. War movies became a briefly popular topic in 1976 with Chang Cheh's 7 MAN ARMY (1976) leading the charge. Lo Lieh planned his to be budgeted at HK$8 million using 1957s THE BRIDGE ON THE RIVER KWAI as its template. That production never got off the ground, but he did shoot THE BIG BOSS PART 2 and THE POSSESSED (both 1976) in the country instead.

Actor turned director Tien Feng made a career out of playing sinister and grotesque villains; the pinnacle of these being his absolutely loathsome antagonist in Cheng Kang's THE SWORD OF SWORDS (1968). OATH OF DEATH (1971) and THE BLACK ENFORCER (1972) are two others. His leading villain portrayal in KING BOXER (1972) is his most recognized internationally.

In THE GOLDEN TRIANGLE, Tien Feng plays a particularly nasty drug lord who may have been based on Burmese gangster Khun Sa. Backed by a 20,000-30,000 strong private militia, Khun Sa consolidated power from Burma (now Myanmar) to the Northern border of Thailand. Eventually, his smuggling operations shipped drugs beyond the areas of the Triangle to the streets of Hong Kong, Australia, Europe and America. Today, Myanmar is the top opium producer in the world; although the Golden Triangle is no longer the epicenter of drug crop cultivation. 

The script was written by a Thai actress named Thaworn Suwana. The dubbing doesn't show it, but the script is unexpectedly good. If the tri-territory mountain region of the title wasn't in the news as it was at the time, this movie probably would never have been made. There's even an attempt to present a positive side to the manufacturing of opium during a sequence between Methanee and Tanny where she says it's been the only source of livelihood for the people for generations. "To us, opium is an ordinary crop. It's you people in the civilized world who adapt it into social evils."  The film never justifies the manufacturing and selling of drugs, but it's unusual that there would be a discussion, brief as it is, about non-addictive uses of the plant in an action film.
The poppy plant (papaver somniferum) is also used for medicinal and therapeutic purposes as well as an ingredient in foods. There are several scenes where we see workers harvesting the plants and preparing them for wherever they're being shipped out to. These quasi-documentary moments give the feeling you're watching a Mondo movie. Among all the jungle action and tropical atmosphere, you'll see some fascinating glimpses of Thai life in the mid 1970s.

One curious scene has Lo Lieh going to a massage parlor and picking out six girls(!) to entertain him. It's really a ruse so his sinister employer, Lo Han, can double-cross him. The parlor women do business in these bathrooms with beds in them. They lather up on these inflatable pool floats and once you're massaged and cleaned up, you move to the adjoining bed for the completion of services rendered. 

Tanny Tien Ni was a popular freelance actress who had a lengthy career in Taiwan before making a mark in HK movies. Her relationship with married filmmaker Mou Tun Fei (MEN BEHIND THE SUN) in the early 70s made headlines. She was once again in the news when she and British actor Robin Stewart entered into a whirlwind romance for a few months during the filming of THE LEGEND OF THE 7 GOLDEN VAMPIRES (1974). It seemed like the two lovebirds would tie the knot; Stewart went so far as to pen a statement in Cinemart Magazine about his love for Tien Ni. It wouldn't last, though, and she would ultimately wed Yueh Hua on December 22nd, 1975 and her wild ways ended there.
She does well in this role of the poppy field overlord, maintaining the business she inherited from her father, and coveted by the villainous Lo Han. Tanny even fires a machine gun and does some brief fighting at the conclusion. She was a feisty actress who didn't mind getting her hands dirty, so to speak. She would appear in at least one other Thai-lensed motion picture, the JAWS-inspired CROCODILE (1979) that apparently began shooting in Thailand in 1977. Of the two, Tanny makes a better impression as the firebrand poppy princess.
With THE GOLDEN TRIANGLE being a co-production between two different Asian territories, there are two different directors. Presumably, this was more Rome Bunnag's movie than Wu Ma's; the latter likely being on hand to aid and or direct scenes only with the Chinese actors.

One of those rare titles that had little circulation, THE GOLDEN TRIANGLE is a nice surprise with its plentiful gun battles and concluding car chase and boat crash. Kung Fu fans might be disappointed there isn't much in the way of hand-to-hand combat, but there's enough here to keep a fan preoccupied for 95 minutes. Once the plot is laid out, it's virtually non-stop action from the 44 minute mark to the end. This picture isn't anything remotely spectacular, it's just a nice, very entertaining surprise; a film whose reputation should improve with this attractive widescreen presentation.

This review is representative of the Dark Force Entertainment bluray. Specs and extras: new 2K scan of the longest running 35mm print known to exist (Italian print as IL TRIANGOLO D'ORO; English dubbed); 2.35:1 1080p anamorphic widescreen; running time: 01:34:51

Wednesday, April 17, 2024

Golden Needles (1974) review


Joe Don Baker (Dan Mason), Elizabeth Ashley (Felicity), Jim Kelly (Jeff), Burgess Meredith (Winters), Ann Sothern (Finzie), Roy Chiao (Lin Toa), Frances Fong (Su Lin), Tony Lee (Kwan), Si Ming (Su Lin), Fong Wah (Lotus), Sonny Barnes (Claude; as Clarence Barnes)
Directed by Robert Clouse
The Short Version: Imagine a movie about a boisterous Texas thief living in Hong Kong's underworld assigned to track down a golden statue that gives its owner youthful energy and a powerful libido. Add a bunch of familiar faces from Hong Kong martial arts movies, some big name American stars, a witty script and a ten minute foot chase through Kowloon's Walled City and you have a nifty little B-movie from the makers of ENTER THE DRAGON (1973). It's fun even if it's not pure action movie gold.

The search is on for a mysterious golden statue made for the Sung Emperor. The statue and its seven needles representing seven vital acupuncture points, bring youthful vigor and sexual prowess when applied correctly. If not, they bring about a brutal death. Master thief from Texas, Dan Mason, is hired to find the elusive statue and gets in trouble with Triad killers along the way. It's an adventure that begins in Hong Kong, moves to Los Angeles and back to Hong Kong.

GOLDEN NEEDLES (1974) is one of the weirdest martial arts pictures of the 1970s. An American production shot on location in Hong Kong, the film opens with an outrageously wild sequence wherein an old man in a wheelchair (Hao Li Jen, veteran player of over a hundred Shaw Brothers pictures) receives the fabled needles that restores his ability to walk. Surrounded by four prostitutes, the elder is barely in the bedroom before two men in fire-retardant suits enter and open fire with flamethrowers, turning everyone into extra crispy chicken tenders. A wacky movie throughout, it never attains this level of absurdity again; at least not till a maniacal Burgess Meredith shows up wearing an enormous, multi-colored bow tie.
There were a lot of movies like this throughout the 1970s of varying quality and substance. There was DYNAMITE BROTHERS (1974), BLACK BELT JONES (1974), KILL OF BE KILLED (1976), DEATH MACHINES (1976), DEATH DIMENSION (1978), CIRCLE OF IRON (1978), KILL THE GOLDEN GOOSE (1979) and A FORCE OF ONE (1979) to name a few. Kung Fu pictures enjoyed a degree of popularity they would never enjoy again. With the global success of ENTER THE DRAGON (1973), it seemed logical the makers would follow that hit with another potential moneymaker.  

In what was to have been the first of a series of HK spy flicks, George Lazenby was initially set to star in what was being called, 'The Golden Needles of Ecstasy'; instead, he was replaced by Joe Don Baker who was enjoying the notoriety that the major Drive-in hit WALKING TALL (1973) was bringing him. 

In late 1973, it was also reported that Angela Mao and Cheng Pei Pei would be Lazenby's co-stars. Even though he didn't take the role, the one-time James Bond did work in Hong Kong pictures, making a few films for Golden Harvest like STONER (1974), THE MAN FROM HONG KONG (1975) and A QUEEN'S RANSOM (1976).
Like Lazenby, neither Pei Pei nor Angela Mao Ying appeared in the movie. Instead, Eurasian actress Si Ming (billed as Frances Fong) was the lead Chinese actress alongside leading American actress Elizabeth Ashley. Later in her career, Si Ming would do acting work on the stage and even hosted some paranormal television programs. She had been dating Lee Ka Ting since 1970 so her impressive strikes and kicks were likely due to him, making Pat Johnson's American-style choreography easier for her to pull off.

Lee Ka Ting has a supporting role as Lin Toa's main henchman. He was an actor in dozens of movies and a martial arts director in even more. He worked in many HK movies, particularly for the Shaw Brothers. He appeared in small roles in Chang Cheh's films and later moved up to choreographing them in pictures like NAVAL COMMANDOS and CHINATOWN KID (both 1977). When director Chang was making his 4th Generation films starring the Venoms, Chang became increasingly frustrated with the work done by famous martial arts instructor Leung Ting. The director remarked at the time how he was contemplating replacing Leung with Lee Ka Ting, noting how slow Lee was but preferable to the frustrations Leung was causing. Ultimately, Chang didn't bring Lee back, but did get rid of Leung Ting, giving Lu Feng, Kuo Chui and Chiang Sheng the opportunity to join forces and bring a much more satisfactory style of action design to the screen. 
If you've watched many Shaw Brothers pictures from the 1970s, you've assuredly seen Lee in the background somewhere. He would eventually move up to martial arts director which paid more than the numerous bit actor parts he was getting. He joined the industry in 1965 and worked on movies for other companies like Cathay and independents. Like many others, Lee moved into television. As stated above, he was dating his co-star, the aforementioned Si Ming at the time. The two would marry in 1977.

Leading the cast of this martial arts curio is Joe Don Baker. A memorable actor with a distinguished and imposing Texas drawl, Baker was an unsung action hero in the 1970s. He had some great lead parts throughout the decade; but unfortunately, too many Drive-in style pictures may have diminished his momentum into the 1980s. He was great as the one-armed confederate soldier who briefly clashes with Bernie Casey before siding together as two of the GUNS OF THE MAGNIFICENT SEVEN (1969). He was also in good company as one of the disturbed Vietnam vets in WELCOME HOME, SOLDIER BOYS (1971). Baker's career got wider notice after playing Steve McQueen's brother in Sam Peckinpah's JUNIOR BONNER (1972); and took off in a big way once the box office receipts came in for his starring role as real life Tennessee sheriff Buford Pusser in the original WALKING TALL (1973). Big ticket crime films came that same year for Joe Don with CHARLEY VARRICK and THE OUTFIT. 
Another crime picture, the brutal and underrated FRAMED came in 1975 and reunited Baker with his WALKING TALL director Phil Karlson. The actor's title role as MITCHELL (1975), a cult favorite DIRTY HARRY style cop thriller, was directed by veteran western film and TV director Andrew V. McLaglen. After the widely panned and misunderstood MITCHELL, Baker starred in a series of Drive-in style pictures like the wasted opportunity, CHECKERED FLAG OR CRASH (1977); then the obscure western spookshow THE SHADOW OF CHIKARA (1977). With crash n' burn car chaser flicks being big business in the late 70s, Baker did a really good one, although it's not well known; that being SPEEDTRAP (1977). One of his best was THE PACK (1977), arguably the best killer dog movie of that sub-genre. This film saw Baker being directed by Robert Clouse again.
The actor still got good roles in the 80s and 90s, but any leading parts were relegated to low budget pictures like FINAL JUSTICE (1984) or main bad guys in the comedy JOYSTCKS (1983) and the actioner GETTING EVEN (1986). 

Elizabeth Ashley plays Felicity, a delightfully mouthy broad who always finds herself in a predicament. The love interest to Baker's Dan Mason, the script spends a good deal of screentime with them. It never gets boring as there's plenty of witty banter between the two. It's another area where the filmmakers were obviously trying to differentiate themselves from the flurry of Kung Fu pictures emerging all over the place just a year after the world market exploded with them due to the board-breaking success of FIVE FINGERS OF DEATH (1972s KING BOXER); followed by Bruce Lee's fist and kickers, FISTS OF FURY (THE BIG BOSS) and THE CHINESE CONNECTION (FIST OF FURY).

Ashley is highly entertaining in the movie and a key reason it's as engaging as it is. She and Joe Don Baker work well off each other so it's a shame we didn't get at least one more adventure with the two co-stars.

Roy Chiao Hung is a formidable bad guy, playing the gangster Lin Toa. He conveys a great deal of villainy with his facial expressions and muted tone. If you're not a huge fan of martial arts pictures, particularly those of the Chinese-language variety, then you've likely see Chiao in several American-made martial arts-action films.

A cultured man, he spoke several different dialects and was fluent in English. An army interpreter in the 1950s, he would soon get into the film industry where he quickly met the woman he'd marry in 1958, a dubbing artist named Liu Yan Ping. He appeared in a variety of movies, predominantly for independent companies, including Golden Harvest before they became a major studio and after. His first film role was in Chang Cheh's first time out directing in STORM OVER ALISHAN in 1949. Other filmmakers he worked with include King Hu, Sammo Hung and Jackie Chan.
Mainstream audiences will remember Chiao best as the gangster menacing Dr. Jones at the beginning of INDIANA JONES AND THE TEMPLE OF DOOM (1984); one of the main villains in THE PROTECTOR (1985); and Jean Claude Van Damme's martial arts teacher in BLOODSPORT (1988).

A devout Christian, Chiao founded a Christian Fellowship in Hong Kong. He passed away after suffering several heart attacks in April of 1999 at the age of 72.

One of the fun things about this movie is picking out the numerous HK film actors, some of whom would become famous over time. Richard Ng is one such performer seen in GOLDEN NEEDLES. He plays a gangster here, but he would become famous for his comedy roles. If you're a HK film fan, you will know him from the LUCKY STARS series of films. Some of his other related or similar pictures are CARRY ON PICKPOCKET (1982), WINNERS AND SINNERS (1983), the quartet of films in the POM POM series, YES, MADAM! (1985) and THE MILLIONAIRES EXPRESS (1986).
Rounding out the American cast....

Jim Kelly has what amounts to a guest star turn playing another partner to Joe Don Baker. Kelly was a real life Karate champion and taught the arts in his own school; but when it came to on-screen fighting, he seldom looked good doing action sequences. Pat Johnson was the fight designer on GOLDEN NEEDLES but Kelly wanted to do the honors for his one fight scene.

The choreography is what you'd expect from an American production; although the Asian performers look the best doing American-style MA choreo. Baker does a surprisingly good job in his fight scenes with his "hunched-over" style when tossing people through windows or glass doors that always seem to be nearby in all the fight scenes.

One of GOLDEN NEEDLES' most prestigious participants is Ann Sothern, a multi-Emmy nominated actress of stage and screen and comedienne. A close friend to Lucille Ball and the star of a few television shows, Sothern was a businesswoman and singer. In the 1970s when her movie career began to wind down, she did a handful of Drive-in type pictures like the underrated THE KILLING KIND (1974), CRAZY MAMA (1975) and THE MANITOU (1978).

He's best known for his TWILIGHT ZONE appearances, playing The Penguin on TV's BATMAN series, and playing Mickey Goldmill, the ill-tempered boxing trainer to ROCKY (1976); Burgess Meredith is probably the last person you'd expect to see in a martial arts movie. An award-winning actor, once he hit his late 60s-early 70s, he took on an occasional quirky role like many of his colleagues did during their career twilight years. There's really no need for Meredith's flamboyant crime boss character, but it's another weird element to the script that probably would've been expounded upon had the film been a hit and a sequel made.

It's not 24 karat Kung Fu cinema, but GOLDEN NEEDLES is certainly a fun little movie with a list of actors you'd never associate with the genre. If you're looking for something similar, and in a closer vein to the Hong Kong style, then the US-HK co-pro CLEOPATRA JONES AND THE CASINO OF GOLD (1975) comes highly recommended. But as far as weird 70s actioners go--and for Joe Don Baker fans--there's a bounty of value in this minor nugget of vintage American martial arts action.

This review is representative of the Kino Lorber blu-ray. Specs and extras: 2.35:1 1080p anamorphic widescreen; audio commentary with Howard S. Berger and Chris Poggiali; image gallery; radio spots; theatrical trailer; reversible artwork; running time: 01:32:15
Related Posts with Thumbnails


copyright 2013. All text is the property of coolasscinema.com and should not be reproduced in whole, or in part, without permission from the author. All images, unless otherwise noted, are the property of their respective copyright owners.