Cool Ass Cinema Presents: An Interview With Former Shaw Brothers Star & Director/ Action Choreographer, Lu Feng

Famous the world over for playing various villainous characters in a series of Kung Fu and Wuxia movies all directed by Chang Cheh, Lu Feng (sometimes billed as Chu Lu Feng) was one part of the team of five actors popularized in a 1978 motion picture titled THE FIVE VENOMS (in America as FIVE DEADLY VENOMS). Under Chang Cheh's guidance Lu Feng was part of Chang's 4th Generation of movie stars that gained massive popularity around the world in a series of varied action pictures featuring some of the most dizzying, dazzling, and creatively gory action you've ever seen. Master Lu has since moved exclusively behind the camera, still working in the industry that brought him prominence on the international market. The famed Shaw Brothers Studios may be closed and the Five Venoms have long since disbanded (working in some capacity; or passed away in the case of Chiang Sheng), but the films live on.

Below is a lengthy, career spanning discussion with one of Hong Kong cinema's best loved old-school actors, and one of the industry's greatest actors of villain roles, Mr. Lu Feng.

Early Roles. Clockwise from top left: SHAOLIN AVENGERS (76); THE HAND OF DEATH (76); THE CONDEMNED (76); NEW SHAOLIN BOXERS (76)

VENOMS5: Can you tell me about your childhood, when you became interested in acrobatics and martial arts?

LU FENG: I grew up in a poor family. I have three older brothers. My parents couldn't afford to raise so many children, so they sent me to Chinese opera school. The government-run schools do not charge tuition, and they pay for your food and living expenses; but you must pass the exam first. I was lucky to be accepted. Most of my childhood was spent growing up in the school community--nearly 11 years in drama school with a total of 40 other male and female students. Every day we learned about opera performances. At 5am we are up to start the day courses with the first class beginning at 5:30am. In the beginning when I was learning somersaults (tumbling) it was very hard, but this training gave me foundation that helped me in my movie career up to today. After breakfast was finished at 7:30am, I learned about weapons, knives, guns, swords, forks (Fei Cha), and other weapons. Afternoon and night was reserved for normal academic studies. This lasted nine years. The last two years was for stage performances. At that time when I was very young, there was no so-called interest in such things; it was because the family was poor, and I was sent to study acrobatics, stage performances and martial arts! 

Early Roles. Clockwise from top left: SEVEN MAN ARMY (76); MAGNIFICENT WANDERERS (77); CHINATOWN KID (77); NAVAL COMMANDOS (77)

V5: Did you go to the same school as Kuo Chui and Chiang Sheng?

LF: The three of us--myself, Kuo Chui (Philip Kwok Chun Fung), Chiang Sheng--all studied opera, but we were not from the same school. Chiang Sheng and I learned Jiang Chinese opera (Revolutionary Opera), but Kuo Chui's was slightly different. He studied Taiwanese Opera. Since school fees are not required, the government encouraged the development of artistic talent in learning Chinese Opera. As I stated before, much of the training consisted of tumbling, juggling, and weapons. The three of us became very good at acrobatics, and I am slightly better at using weapons. For the movies, I have tried almost all the various weapons.

V5: Who inspired you to get into movies and become a martial arts actor?

LF: After graduating from opera school I was supposed to further my development in professional arts. But because of the changing times, fewer and fewer people were watching Chinese Opera; the recruitment for China National Drama Theater was in decline. The movie and television industry was developing much faster so we had to find another way to survive. This was around 1975. At that time most of the martial arts staff in movies all had background in Chinese Opera. For example, Sammo Hung and Yuen Woo Ping all have a base in Chinese Opera. Fight Director Tang Chia is the same. Of course, we had Sifu Lau Kar Leung who came from a genuine martial arts background but that was rare. All I can say is I stepped into the movie industry because of the decline of Chinese Opera and that my good friends lead me into this industry. I was a stuntman for a few years before Director Chang Cheh promoted me as an actor. I played small roles at first, but also worked as a deputy fight coordinator. At that time Sifu Lau was just leaving Director Chang to direct his own movies. I was working at Director Chang's company when he shifted his base to Taiwan to form Chang Gong (Long Bow). Some of those films being FIVE SHAOLIN MASTERS (1974), MARCO POLO (1975), NAVAL COMMANDOS (1977)... when he closed down he took me, Chiang Sheng, Kuo Chui, and about 20-30 other men back to Shaw Brothers in Hong Kong.

Lu Feng and Wang Li (right) in Chang Cheh's NEW SHAOLIN BOXERS (1976).

Lu Feng battles John Liu (top) and Tino Wong (bottom)

V5: You have an early fighting role in SECRET RIVALS 2 (1977) for director Ng See Yuen and his Seasonal Films Company. John Liu and Hwang Jang Lee were very popular at this time. Do you remember anything about making this film? Wang Li appears in the same fight scenes with you.

LF: When I first started in this industry it was through a friend's recommendation. I participated in some movies as a stuntman. SECRET RIVALS 2 was one of those jobs. I remember Master Yuen Woo Ping was the Fight Choreographer. Wang Li was a stuntman then too, although I don't remember working with him on that one. We did collaborate for years at Shaw's and we did become good friends. I don't recall much about the picture. I just thought John Liu and Hwang Jang Lee were great masters. I wasn't in the whole movie just when they needed a stuntman.

V5: How did you first meet director Chang Cheh?

LF: As I said earlier I joined Chang Cheh through a friend's recommendation. The first time was on HEAVEN, HELL, EARTH (HEAVEN AND HELL in 1975). They had changed the Chinese name but the English name stayed the same. At that time I did not know if Chang Cheh would pay much attention to us since we were just small potatoes; so I just tried to do the best job I could. I did know Master Lau Kar Leung liked me. He was still there with Chang Cheh at that time as his Fight Choreographer. He gave me a chance to show off and perhaps because of this director Chang Cheh noticed me (laughs)!

V5: In 1975 this was being promoted as 'The Hell', but the production was shelved for some reason and started again with new cast and choreographers in 1977. Do you recall anything about this?

LF: With HEAVEN, HELL, EARTH, I think Chang Cheh was trying to create a new style of movie--with singing, dancing, ghosts, weapons, and other elements. It didn't click with audiences. Then again, maybe Chang Cheh was ahead of his time. I think the later Hong Kong zombie movies were influenced by it to some degree. The film went through a few different titles, too; one of them was something like 'The Third Kind' which wasn't very clear (laughs)!

Lu Feng as General Gu Bei Zhi in SHAOLIN TEMPLE (1976)

V5: Can you discuss your experience making Chang Cheh's epic SHAOLIN TEMPLE (1976)?

LF: SHAOLIN TEMPLE (1976) was the first time I played something resembling a real role. I only had small roles before, so I was really nervous. I remember a scene where I had to say some longer lines of dialogue and my mind suddenly went blank! I'm trembling, very scared that I can't finish the scene. I'm thinking to myself, "what an idiot!" But fortunately, I had better luck doing the martial arts sequences. I tried to do it well! Ti Lung was the big brother to us on the set. He gave us in the younger generation a lot of encouragement.

Clockwise from top left: FIVE VENOMS (78); INVINCIBLE SHAOLIN (78); LIFE GAMBLE (79); CRIPPLED AVENGERS (78)

V5: FIVE VENOMS (1978) was your first time as an action director? Was it a good cooperation between yourself, Leung Ting and Robert Tai?

LF: FIVE VENOMS was the first time I was a Deputy Action Director. I had little experience, but I was anxious to learn. This was Leung Ting's first time as Action Director. Each move set was given to the actors just before we'd shoot them. Leung Ting had no experience, but he brought some ideas to the film; such as how Wei Pai interpreted the Snake. His action design for the Snake was not the same as traditional Snake style. The action designed by me, Robert Tai, Chiang Sheng, and Philip Kwok was very hard to put together but we had a great time doing it. In retrospect I have nothing but good memories. Tai Chi Hsien was a good brother, a very good director who worked hard for Chinese cinema.

V5: FIVE VENOMS (1978) is very popular around the world. Are their any memories you can share making this famous film?

LF: That year FIVE VENOMS earned a lot of money in Hong Kong and Taiwan. However, we didn't expect nor did we know our films were being embraced around the world. It was 20 years before I knew they were so popular since social media had yet to develop. Working at Shaw's was like working in manufacturing. He had his own theaters, distribution, iron works, woodworking facilities, garment factories; these were all there to complete the film. They had their own actors and directors producing dozens of movies a year. So for us it was like a job; and completing each job successfully was most important and was the mentality we all had. It was certainly my feeling at the time.

We got a call sheet everyday with a list of work to be completed as well as our progress for that day. Daily some unpredictable situation would occur, often a work-related dispute. Never personal, though. For example, instead of using the traditional Snake Fist, Leung Ting decided to create a new technique. The left hand was the cobra head and the right was the tail. Unlike the Snake Fist in SNAKE IN THE EAGLE'S SHADOW (1978), nobody was familiar with this style. If we had stayed with the familiar style our film would have been completed earlier than Jackie Chan's snake fist picture. So at that time we were all in opposition of Leung's design. But director Chang Cheh decided to use the new Snake technique for the movie. It didn't affect the film's finesse although that Snake style was never used again. It did establish the uniqueness of FIVE VENOMS. In those days we were all new, so we tried so hard to do our best. Under Chang Cheh's leadership we had a good product.

V5: Around the time FIVE VENOMS (1978) was in production, director Sun Chung was preparing TO KILL A MASTERMIND (1979), a film with a similar concept. Do you remember this film from that time?

LF: TO KILL A MASTERMIND (1979) was a copy of Chang Cheh's FIVE VENOMS (1978). Like Chang Cheh, Sun Chung was introducing new actors--around seven--but his picture was similar to Chang's movie. I've not seen TO KILL A MASTERMIND, but the story doesn't seem as good as what Chang Cheh wrote for FIVE VENOMS. 

 

V5: One of your best works is CRIPPLED AVENGERS (1978). After a two year absence Chen Kuan Tai (above at left) returned to Shaw Brothers. You were fantastic playing his crippled son with the iron arms. Did he give you any acting advice?

LF: Chen Kuan Tai was the idol of my youth. I was holding back my excitement to work with him. He was our senior then and we greatly respected him as our leader. Whether in the action or the drama parts Master Chen gave us great respect as well. He also exceeded our expectations. Chiang Sheng and I were deputy directors (assistant directors) on this film as well as action directors along with Kwok Chun Feng (Kuo Chui). Master Chen never questioned the script nor offered an opinion on the action he was given to do. He's really good! Of course, when working with Ti Lung, David Chiang, Wang Chung, Danny Lee and other predecessors in THE WILD BUNCH ON THE BEACH (SHANGHAI 13) they are the same, too. The elder class are the best brothers.

Clockwise from top: SHAOLIN RESCUERS (79); THE DAREDEVILS (79); KID WITH THE GOLDEN ARM (79); THE MAGNIFICENT RUFFIANS (79)

V5: You are famous for playing the villain. You have played many memorable bad guys. It is hard for me to pick a favorite you are so good at playing them. Do you like playing bad guys the best?

LF: According to my own experience, when I was playing the villain the box office was better. When I was the good guy it wasn't quite as good like in DESPERATE ACROBATIC TEAM (THE DAREDEVILS) (Laughs). I have a good friend who told me jokingly that I was a "natural born villain"; so maybe I'm really a bad guy (laughs)! I am fond of the Kao Chin Chuen (Gao Jin Zhong) character. I played him twice in MARKET HERO (SHAOLIN RESCUERS) and again in TWO CHAMPIONS OF SHAOLIN (1980). I prefer MARKET HERO since I won an award for it! Another bad guy role I am fond of is "Butterfly" Hua Chong in HOUSE OF TRAPS (1982). I was very handsome in that one (laughs); at least I felt handsome in it!

V5: In your films you always use long weapons. Do you have a favorite? Moon Sword? Spear? Or a different weapon?

LF: Because I was in Opera School, I had to learn many skills such as singing, martial arts, somersaults and weapons. I began Opera training when I was 8 years old. Since I had a loud voice more attention was paid to my singing as opposed to tumbling. By age 15 or 16 I no longer retained my child voice; some people do, but I didn't. It was no longer so clear as before. Due to this I concentrated solely on my martial arts skills, weapons and somersaults so I could be a martial arts actor in the movies. You asked me what is my best weapon... You've seen in my films that I am good at using them all (laughs)! I love using them, although they're very dangerous.

V5: Going back to the singing for a moment, I've seen photos of you singing on stage the night you won your acting award in 1979.

LF: Gordon Liu was accompanying me that night on stage. A special occasion! After having been out of the National Drama School for 40 years, myself and all the old students had a reunion on October 25th, 2012. I did a "painted face" performance that night in full costume (see insert photo).

Lu Feng as the leader of a blood-drinking cult of killers in MASKED AVENGERS (1981)

V5: My favorite is the Flying Fork (Fei Cha) weapon from MASKED AVENGERS (1981). Stunning choreography in that one. I saw it in the theater when I was a child. It was my first time seeing the Venom group on the big screen. Needless to say, I was in awe. Can you comment on this film?

LF: The characters of the title are similar in meaning to "Righteous Fist". It is generally understood although the meaning is not the same since the character for righteousness, or justice, becomes the fork (trident/3-tipped head) representing the killer gang in the film. The justice comes in the form of the heroes sent to stop them. This was a much darker film than what we had been doing up to this time. Chu Ko joined our group as an action choreographer on this picture.  

Special mention here, my master, director Chang Cheh, is a great fan of the Chinese National Opera. Sometimes when we're filming he would sing an opera song or two (laughs)!

Lo Mang, Kuo Chui, Sun Chien, Lu Feng, Chiang Sheng... THE DAREDEVILS (1979)

V5: Did you know Chang Cheh's fourth generation of stars were so popular outside of Asia?

LF: As I've said before, our Five Venom Group has so much love from foreign fans; we never expected it. We feel really surprised and very happy about it. We feel very honored; including me and Kwok Chun Fung.

Lu Feng (far right) with his 'Best Supporting Actor' Award at the 25th Asian Film Festival in July of 1979.

V5: How did you feel when you won the 'Best Supporting Actor In An Action Film' Award for SHAOLIN RESCUERS (1979)? You were such a strong opponent playing Kao Chin Chuen. It took all the main cast to defeat you! You played the character again in TWO CHAMPIONS OF SHAOLIN (1980).

LF: Winning the "Asian Film Festival Best Supporting Actor Award" for SHAOLIN RESCUERS was the greatest honor I have had as an actor. When filming, your hardest effort to get the best result is the most fun, the most satisfying thing. Of course, the rest of our group of five friends put in hard work as well. I have told you that our movies do well as long as I am playing the villain to the end; and when many have to combine to defeat me, then I will die miserably.... because I'm too strong (laughs)!

Clockwise from top: 2 CHAMPIONS OF SHAOLIN (80); FLAG OF IRON (80); LEGEND OF THE FOX (80); THE REBEL INTRUDERS (80)

V5: Do you recall the problems while shooting TEN TIGERS OF KWANG TUNG (1980)? Chang Cheh's original story was about the 10 Tigers but the story was later re-worked to feature the young relatives of the 10 Tigers. A lot of good action footage was cut out. Fu Sheng injured himself and Wei Pai left Shaw's for Golden Harvest.

LF: Director Chang cultivated the younger generation to uphold the legacy of their predecessors. This approach began with MARCO POLO (1975), Fu Sheng with Kwok Chun Fung; Ti Lung performing with Lo Mang and myself. The Kwang Tung 10 Tigers coaching the younger 5 Tigers is also the same idea. I don't really remember any problems other than normal issues that occur on set. In my memory of him, Wei Pai is a person who didn't communicate with people to the point you were completely unaware of his departure. He was a difficult personality. Director Chang's masculine cinema (Yanggang) also influenced the later generation Hong Kong triad film. That genres greatest director, John Woo, was once Chang Cheh's assistant director. You know more about the details of my films than I do (laughs), I admire that!

Lu Feng (middle) in a 2-on-1 fight against Lo Mang (left) and Chiang Sheng (right)

V5: Thank you. I grew up watching them and have studied as much as possible about them over the years. As for the other members of your group, Lo Mang and Sun Chien have a different background from you, Kuo Chui and Chiang Sheng. How was it working with them?

LF: Sun Chien learned Taekwondo and Lo Mang learned Nanquan (Southern Fist). When devising action that utilized their expertise, myself, Kuo Chui and Chiang Sheng tried to design action that suited their strengths. For instance, in our movies I am always armed; Kuo and Chiang were always leaping into the air, and so on. I also used tumbling and light skills but on a smaller scale. On the set the three of us would meet with director Chang to communicate before shooting. Finally, we would plan the action sequence, shooting the move sets of three people together. Whether it was only two people fighting in the move set, three people, or more than three, the decisions were made by the three of us. Completing a set is harder the more people you have since it requires more maneuvers. Before the shooting session begins we will talk about the general direction of a sequence. For example, how many people hit me, the last one who should be killed, or how my character will die; and the length of time afforded the middle portions of the fights all takes time. Lo Mang, Wei Pai, Sun Chien and others were instructed by us and didn't participate in the designing of the fights.

V5: Why did the 5 Venom group split up in 1980? I asked Lo Mang about this in 2007 and his response was the audience wanted the lighter tone of Jackie Chan and comedy routines as opposed to bloody heroics.

LF: There is an old Chinese proverb, "There is no never-ending feast"; meaning that any family or close friends must one day separate. We certainly tried to work together as best we could and be understanding as a team. But the fact is there were various reasons--Director Chang leaving Hong Kong for Taiwan and then China; the decline of the martial arts film genre.... however, it's a pity we oftentimes refuse to accept the reality.

Lu Feng, Kuo Chui and Chiang Sheng in FLAG OF IRON (1980)

V5: Chiang Sheng died in 1991. Do you have a memory of him you could share? He was a close friend of Philip Kwok as well.

LF: The three of us got along very well because almost everyday we studied new ways of designing martial arts moves. We had a strong bond between us. Chiang Sheng went to heaven, but it was with great sadness for us since he was such a good man and a great actor. Chiang was an interesting person. He had no temper and held no grudges. He could get along with anyone he met; but he loved to drink. Kuo Chui was a more serious actor but also a good man.

V5: Chiang was fantastic in LEGEND OF THE FOX (1980) as the main villain, Tian Gui-nong. He was a much better actor than he probably ever got credit for.

LF: I agree. Tian Gui-nong in THE YOUNG FLYING FOX (LEGEND OF THE FOX) was a very good role for him. He was known for playing the non-serious parts, but he played a villain beautifully; particularly because his jovial personality is the total opposite to the character.

Lu Feng and Lung Tien Sheng (right) in SWORD STAINED WITH ROYAL BLOOD (1981)

V5: Lung Tien Sheng joined your group in 1980 for the re-shooting of TEN TIGERS OF KWANG TUNG. He had a lot of charisma. He was especially good in FLAG OF IRON (1980). Did he work well with you, Kuo Chui and Chiang Sheng?

LF: Lung Tien Sheng (Long Tian Xiang) is a great actor. He brought a lot of intensity to our group. Of course, Cheng Tien Chi and Chu Ko came a short time later and were also fantastic. Cheng is my classmate. Both he and Chu Ko came from Chinese Opera background. I explained our cooperation earlier, regarding the action design. Like Lo and Sun Chien, Lung Tien Sheng didn't participate in choreographing the fights. After myself, Kuo and Chiang left Shaw Brothers, Chu Ko and Cheng Tien Chi took over as action directors at the studio.

Lu Feng as Hu Yi Dao in LEGEND OF THE FOX (1980)

V5: What is your favorite character you played and why?

LF: I said earlier my favorite should be Kao Chin Chuen, the villain of SHAOLIN RESCUERS and TWO CHAMPIONS OF SHAOLIN. As much as I truly loved playing this character my absolute favorite is the "Snow Fox", Hu Yi Dao from LEGEND OF THE FOX (1980). Hu Yi Dao was more humane than other characters I've played. I loved the heroic relationship between my character and the righteous Miao Ren-feng as played by my colleague, Kuo Chui. It was a different sort of masculine role than I normally played. Had it not been for Director Chang's mastery the interpretation might not of been as good! My next favorite would be Kao Chin Chuen, and then followed by Hua Chong in HOUSE OF TRAPS (1982).

V5: Have you or any of your co-stars ever contributed ideas during shooting, or did you always follow the script as written?

LF: The script, of course, is written by Chang Cheh. They're his ideas although sometimes he collaborated with Mr. Ni Kuang, a very famous writer and novelist. It is Chang's decision to shoot the picture, and his decision as to which parts we will play. The three of us--me, Kuo and Chiang Sheng--would then get together with Chang Cheh to decide the weapons we'd be using, such as the tridents in MASKED AVENGERS (1981) or the flags in FLAG OR IRON (1980); or some other elaborate weapon. Chang Cheh would have final say over the dramatic portions of the production, but in the fighting choreography the decision is ours. Us three were putting our best ideas forward as a team whether we used them or not. It was our dedication to the film that we tried to contribute only our best.

Lu Feng in Chang Cheh's BRAVE ARCHER series. Clockwise from top: THE BRAVE ARCHER (77); BRAVE ARCHER 3 (81); BRAVE ARCHER 2 (78); BRAVE ARCHER AND HIS MATE (82)

 

V5: Can you tell me about Chang Cheh? As a man and as a filmmaker. He is my favorite director.

LF: Undeniably, Chang Cheh was a pioneer of Chinese cinema. Whether it is Swordplay, Kung Fu, Triad/Gangster, Blood Brotherhood, Comedy, even Musicals, Chang Cheh's status as a forerunner still affects the Chinese film and television industries. Chang Cheh presented unique weapons in his films; the flags I mentioned earlier, as well as the "whistle stick" seen in NORTH SHAOLIN VS. SOUTH SHAOLIN (INVINCIBLE SHAOLIN).... the long stick with a chain connected to a truncheon. I've not seen this type of pole weapon used again. The tridents and lethal flags haven't been seen up to now. Chang Cheh is a great director. He came close to making one hundred movies. For me, he is the best martial arts movie director, but is the worst producer because he had no idea of handling the financing. His investment in his films was more than it cost to make them. He had no concept of the monetary end of film production.

After leaving Shaw Brothers and Hong Kong, Chang came to Taiwan again with the intentions of making movies, but this time under the Chang Ho banner. I said earlier he was the best director, but he wasn't too good with handling the budget. Unfortunately, the resources in Taiwan were nothing like what we had at Shaw's. The restrictive nature of the productions in Taiwan had an impact on the quality of the films. He loved spending the money but this lack of properly allocating funds meant he was always over budget. This was Chang's one major weakness.

Aside from his innovations as a filmmaker, Chang Cheh was a man of many other talents. His artistry in calligraphy in the Chinese world is famous. He wrote the famous song called 'High Green Mountains'. In Taiwan many people know this song. It described the indigenous name of Taiwan. When in Hong Kong I found out that he had also been an actor. I really do miss my master, Chang Cheh. Talking about these old times is a very pleasant thing.

Lu Feng in NINJA IN THE DEADLY TRAP (1981)

V5: You directed several films. Did you like directing? Was it harder or easier compared to being an action director? Please elaborate.

LF: I co-directed NINJA (NINJA IN THE DEADLY TRAP) with Kwok Chun Fung and Chiang Sheng. After we finished that picture, Kwok left Chang Cheh followed later by Chiang Sheng. I stayed in his company as assistant director. In 1984 or 1985 Chang Cheh and I went to Thailand to shoot a movie called ARENA (DEATH RING). I brought in a new actor named Li Chung Yat to star. I used lots of Thai actors too. Myself and Chao Kuo were action directors on this picture. I took ARENA (see insert) to the Chinese distributors but none would take it, so it only played in Thailand that I am aware of. When it was finished we went to make THE DEMONS (THE NINE DEMONS).
 
Around this time, Taiwan and Hong Kong Martial Arts and Action movies were deteriorating. Chang Cheh moved on to the Mainland and I went to television first as an actor and later as a director again. I remained an action choreographer, though. It's been nearly 20 years since I was an actor as I've concentrated on working behind the scenes, and mostly working in China. My job at present is strictly as an action choreographer or director.

NINJA KIDS (82); VAMPIRE KID 2 (88)

I enjoyed being both an actor and an action director; but there is a difference between the two. An actor has to follow the action he's given to perform. If an action director knows you're good at martial arts, tumbling, somersaulting, etc, he can give you a great performance. If it's an ordinary action director you will not play to your full potential. As an action choreographer you can have an unlimited imagination to play around with. You want to give the audience the most wonderful Kung Fu fighting possible. Combining the two--being both an actor and action director--I think is the best... because it is in my hands to play to the strengths in the fighting and control it; like Jackie Chan and Sammo Hung, they have been both actors and action designers; only now they are old and best suited behind the camera.

Top row: SHANGHAI 13 (1984); Bottom row: THE NINE DEMONS (1984)

V5: Do you remember SHANGHAI 13 (1984)? Can you tell me about this production? Many famous actors together including a young Andy Lau.

LF: Of course, Andy is now a big Chinese movie star. THE WILD BUNCH ON THE BEACH (SHANGHAI 13) should be among his earliest film work. He had just left TVB (Hong Kong TV) when he joined the cast. All of Chang Cheh's actors from the first generation of Jimmy Wang Yu to the fifth of Cheng Tien Chi were participating. I fought and killed him in this movie! Young Andy is very diligent, dedicated, and worked very hard on this picture. The seniors worked tirelessly to deliver the best action sequences possible. In the end, SHANGHAI 13 never played in Hong Kong theaters. I don't know why. Sometime after this, Cheng Tien Chi gave up acting and became a director as well. He's the one who convinced me to get into the industry.

V5: What became of Wang Li? Have you seen him recently?

LF: After we left Shaw's we no longer stayed in contact. I really don't know where he is now. 

Clockwise from top: 10 TIGERS OF KWANG TUNG (80); SWORD STAINED WITH ROYAL BLOOD (81); MASKED AVENGERS (81); HOUSE OF TRAPS (82)

V5: After 1985 you did very few movies. Did you ever think of retiring?

LF: No, the film industry was changing and the types of movies we were doing were in decline. Shaw's was closing down and switching to television, so I did the same. Virtually everyone has a TV set in their home. You can see a free show so why spend money to go to the theater to see a movie? At that time HK movies were becoming more and more crude and audience confidence in productions went away.

V5: What is the achievement you are most proud of?

LF: Normally I wouldn't say my film work was an achievement. Doing movies was just a job for me; a job I tried to do my best at every occasion. Since social media has become more developed I've discovered I have many fans so I feel very happy and proud to have brought excitement and joy to them. Secondly, being recognized with an "Asian Film Festival Best Supporting Actor" award for SHAOLIN RESCUERS, I can say for sure I achieved a lot in that movie (laughs)!

The Good Guys...

V5: Compared to the old days, what is your opinion of today's Hong Kong action films? Do you ever watch your old movies?

LF: Hong Kong film industry has become more diversified to meet the needs of the audience. There aren't many martial arts movies made nowadays; at least nothing compared to the old days. It's mostly comedies, gangsters or cop movies being produced. It's a shame... perhaps it's just down to different times or just a changing audience.

Today the film production companies are more picky about which movies can make the most money for a return investment. In the old days this was not the situation. Director Chang was always looking for new themes to shoot, new ways to make his stories, present his ideals, and interpret the emotions of the heroes as well as being innovative in the martial arts action. Chang Cheh wanted to entertain an audience with a good story as opposed to catering to a particular audience.

... and the Bad Guys

 
V5: One last question, you and the rest of Chang Cheh's 4th generation of stars have a lot of fans around the world. What would you like to say to them?

LF: I am very very grateful, and also deeply honored to learn the fans love me as an actor and filmmaker. I'm just trying to do my best work. I never expected to be anyone's favorite. Although our film work is over three decades old, these fans still like to remember us. I want to say to them, Thank you... really, really thank you very much, I love you!

  I would like to thank Mr. Lu Feng for being so generous with his time in answering questions about his career. It was a sincere honor discussing his career with him. I wish him continued success in all his future endeavors.

CAC was also granted an interview with Kuo Chui (Philip Kwok), the Lizard of the 5 Venoms. You can read that interview HERE. 

***I would also like to thank Dan and June for contributing translations for this interview***
 

Reel Bad Cinema: Santo Faces Death (1969) review

SANTO FRENTE A LA MUERTE 1969 (SANTO FACES DEATH)

Santo (Himself; an uncredited Jaguar of Colombia), Mara Cruz (Lina), Angel Menendez (Dr. Igor), Elsa Cardenas (Alicia), Cesar Del Campo (Lt. Valle), Frank Brana (Mario), Fernando Oses (Assassin), Antonio Pica (Igor's henchman), Johana Aloha (Agent X-25)

Directed by Fernando Orozco

The Short Version: There are only two sure things in life -- death and Santo; and Santo faces it (somewhere) in this confusing, plodding, yet hysterical movie that brazenly wastes an enormous amount of potential. Director Orozco's lack of focus sabotages his own movie at every turn, transforming his tale of Colombian based spy intrigue into anything but intriguing. The PLAN 9 of the Santo series, it's a monumental mess filled with plot holes, sloppy action, nonsensical plot devices, and a disinterested Santo played by multiple stand-in's. Ironically, the Saintly One faced Death in a more literal sense in SANTO VS. THE VILLAINS OF THE RING and WORLD OF THE DEAD--two infinitely more entertaining features. If this James Bland isn't the worst entry in the long-running series, it's not for a lack of trying.

A Colombian band of gangsters led by a Luchadora named Alicia is hired by the mysterious mob boss The Great Unknown to appropriate a vast consignment of jewels, the valuable Southern Cross (Cruz del Sur) emerald among them. Santo, wrestler and secret agent extraordinaire, is scheduled to wrestle in Spain, and while he's there, is assigned to investigate and retrieve the jewels before they can be sold off to a Doctor Igor whose main headquarters is in New York. Forced to comply with the criminals, Alicia's father, a diamond cutter, is held captive to ensure the precious emerald makes it out of the country. Meanwhile, The Great Unknown's lead henchman, Mario, keeps tabs on Santo, ordering attempts on his life, and making sure none of the planted agents live to give the crimefighting wrestler any clues as to the location of the coveted and pricey rock.

The Lucha Libre movies of Mexico are a special breed of cinema. If you've an open mind, and can put the genre into perspective with the culture and economy of the time, you'll find some unique surprises. Even the worst entries (although many may lump all the films into the 'worst' category) have some level of cheap thrills to offer. SANTO FACES DEATH is one such picture; a film whose shabbiness, in some ways, was unavoidable. 

 
The Holy was still starring in good films in the 1970s, but if the likes of SANTO VS. THE HEADHUNTERS (1969), SANTO VS. THE RIDERS OF TERROR (1970), and ANONYMOUS DEATH THREAT (1972) were anything to go by, it was clear the Silver Masked Man's best days were behind him. Still, whereas most performers often try to forget their bad film heritage, those wrestling heroes of Mexico embraced and took great pride in having done them, as well as having had a great time making them.

 
And yet, it's difficult to find anything truly good to say about SANTO FACES DEATH. Vying for the title of Worst Santo Movie, it remains consistently wretched from start to finish, made all the more disappointing in that the components for a moderately engaging thriller are on hand, but summarily wasted. There are scripting gaps where an action sequence is supposed to take place--and it either never happens, or is realized in the most unimaginative way possible. Whatever happened behind the scenes, blame is usually placed at the feet of the director; and this director had a relatively short career, going down in the annals of Lucha cinema as the man behind two of the least impressive Santo productions. America has Ed Wood. Italy has Demilio Fidani. And Mexico has Fernando Orozco. 

Santo

Not Santo

Out of everything wrong with SANTO FACES DEATH, the most glaring faux pas is The 'Strange Case of the Missing Santo'. The real Silver Masked Man is only in portions of this movie, replaced by what appears to be a small army of Saintly Stand-in's. Reportedly, Santo's wife became ill, and instead of putting the film on hold, he entrusted another famous wrestler, The Jaguar of Colombia, to take his place in a number of scenes. Actually, had that been weaved into the plot of the movie, it might of made for a more interesting adventure. The disappearing Santo act creates problems that only fans of PLAN 9 FROM OUTER SPACE (1959) will fully appreciate; and in Mexican Lucha cinema, the saying 'The Show Must Go On'  has little regard for continuity.

Santo

Not Santo

Santo was an athletic, barrel-chested man, yet was never overly muscular. The Jaguar, on the other hand, looked like he'd lifted a weight or two. In many instances, the Jaguar and Santo Switcheroo occurs in the exact same sequence! For example, in one scene Santo is discussing the gangsters activities with the police. The moment he exits and the film cuts to an exterior shot, Santo has suddenly sprouted a toned musculature in the span of a couple seconds. This happens a lot during this movie. Ironically, it succeeds in keeping the viewer more interested in picking out the mismatched Santo shots than any of the underdeveloped characters and half-baked action scenes that make this films 85 minutes. If you're a dedicated fan, and can take it, you will see a much less excessive use of the Santo Swap in the other Colombian shot, Orozco misfire, the patchwork production of MYSTERY OF THE BLACK PEARL (1971).

Mystery Santo

Incredibly, there appears to be a THIRD Santo-alike in this movie that turns up approximately 50 minutes in right after Santo (seemingly the real one) stows away aboard a plane to locate Dr. Igor's hideout. So there's a stand-in for the stand-in. What's even more outrageous is this other, noticeably flabbier Santo seems to possess evangelical healing skills in that he barely touches people, causing them to simply collapse into unconsciousness.

Santo and Fernando Oses, maybe

Santo and Fernando Oses, maybe

Orozco, who also wrote this disaster, does find a way to integrate an Imposter Santo into the narrative, even though he is about as successful at clarifying the reasoning behind this addition as he is for everything else. Possibly this FOURTH Santo is Fernando Oses underneath the mask since he plays the assassin working for Mario (Frank Brana) who makes multiple attempts on The Holy's life. Oses's turn as the Imposter comes during a scene in a club where Santo is meeting a belly dancer who happens to be a secret agent. Dressed in the clothes he was wearing when he tried to snuff out Santo in the wrestling arena, Mario orders him to silence the curvaceous female spy. Why the hell he is suddenly dressed like Santo in the next scene, and apparently has an identical mask in his pocket is yet another scripting snafu that goes unexplained, has no impact, nor any reason for being there. Both Santo and his imposter tussle once more later in the picture--again, the question is asked why does he need to disguise himself as Santo to assassinate Santo?

Definitely Fernando Oses

Oses was a familiar face in Lucha cinema, having been a professional wrestler, and faced Santo on numerous occasions in his movies, delivering some of the best brawls of the Saint's career. This might explain why the two fights between Santo (the real one) and this imposter are the most energetic of all the varied action scenes in the film.

In a really cool, yet probably unintentional in-reference, a sign is visible displaying a roster of wrestling matches featuring Santo, Oses, and the Jaguar of Colombia against the likes of Count Dracula and King Kong.

The Jaguar of Colombia reportedly did stand-in duties on a total of four Santo pictures (in as many months). The other three Jaguar/Santo films were the above-mentioned MYSTERY OF THE BLACK PEARL (1971/1974), ANONYMOUS DEATH THREAT (THE ASSASSINS OF HITLER [1972/1975]), and SUICIDE MISSION (1971/1973). Unless the scenes with The Jaguar were shot and not used, there doesn't appear to be any sign of him in the last two titles. In addition to his popularity as a mat technician, the Colombian wrestler had a brief cinematic run of his own during this time period. If nothing else, SANTO FACES DEATH gave the Jaguar (see above and insert) a unique opportunity to test out the filmmaking waters before diving in on his own with KARLA VS. LOS JAGUARES (1974) and LOS JAGUARES VS. EL INVASOR MISTERIOSO (1975).

El Santo and The Jaguar of Colombia

Enamored with The Saint after reading the exploits of the Silver Masked One in a comic book, The Jaguar decided wrestling was for him, and his path was set. Like most who stay focused and persevere to achieve their goals, The Jaguar encountered issues with family over his chosen profession. Not letting that stop him, the young man's intense study of Greco-Roman wrestling led to his first match at 14 years of age. A serious head injury that left him hospitalized for a few months failed to sideline his career. By the time he was 15, The Jaguar had met his idol, Santo. Eventually, the high-spirited Colombian Cat debuted at Madison Square Garden in the early 1960s, and by the end of the decade, he was subbing for Santo in the movies. The two partnered in Colombia in 1968, so this coincides with Santo's films he made there. Starring in two productions of his own in the early 70s, The Jaguar maintained a successful wrestling career that not only brought him to America (again in the late 70s and 1980s), but global recognition as well.

Shot in Colombia in the city of Bogota and Mount Monserrate, SANTO FACES DEATH was the first of three co-productions with Spanish companies. This film (including its follow-up, MYSTERY OF THE BLACK PEARL) has a confusing history. Known in Spain as SANTO CONTRA LOS ASESINOS DE LA MAFIA (SANTO AGAINST THE MAFIA KILLERS), its advertising in that country features a woman with dark hair in what looks like the Raquel Welch pose from Hammer's ONE MILLION YEARS B.C. (1966). On the Mexican poster, it's basically the same, but with a blonde haired woman. In the film, Elsa Cardenas is a blonde, but wears a brunette wig in the ring so both countries had all the bases covered in that case. Credits are different on this Spanish version, and made even more confounding in that director Orozco is listed only as a producer. A Manuel Bengoa and Enrique Eguiluz are credited as directors on the Spain print. Orozco's screenplay credit on the Mexican version is replaced with Manuel Bengoa, which could be a pseudonym for Orozco. Likely the confusion of the credits was due to contractual reasons.

Another DEATH in the masked canon, SANTO VS. DR. DEATH (1973), the last of the co-pro's with Spain, is far and away the best of these collaborations; bearing the best production values and many familiar faces to European film fans. According to the man himself, The Holy considered it his best effort.

Mystery Santo

Taking the Santo Swap out of the equation, SANTO FACES DEATH falls way over onto the opposite of that spectrum for many other reasons. There's a decent plot here, with the potentiality for some fine set pieces, but it's all undermined by the most pedestrian approach imaginable. The lazily choreographed (if you can refer to it as having been rehearsed) raid on the emerald mine that opens the film is the first indication the filmmakers have less enthusiasm than the budget they have to work with. The lack of financing, while glaringly apparent throughout, takes a cue from the Roger Corman playbook during the finale. When the Colombian military intervenes to help stop Dr. Igor, some of the shots from the opening ambush are recycled, but flipped to make them appear new. This set-up for a big finish with an attack on Igor's hiding place is another cheat; ditto for the meeting between Santo and Igor in a river that is supposedly filled with crocodiles that, like a lot of things in this movie, are never seen.

Santo and Antonio Pica

A sword fight between Santo and Antonio Pica (see above) is yet another example of this films variance in the action department, yet feels like it was done in a rush and on the spot. The lack of choreography sees Santo simply use the same blocking motion over and over to hold off his attacker. Pica's maneuvers are basic thrusts with the bulk of this sword "duel" consisting of the two men pushing each other away and struggling around the room.

Even the wrestling is less than stellar. There's four matches in this one--two with Santo and two with luchadoras--one of which is supposed to be Elsa Cardenas. The other women's match (one of the ladies has bandages covering her head) isn't seen in its entirety. The two Santo bouts are integrated into the plot, utilizing the familiar plot device of the assassination attempt. To match the productions lackadaisical storytelling, even Santo appears tired during his matches. Not only is he not in the whole movie, but his heart isn't altogether in it, either.

Elsa Cardenas (right) and Celia Roldan

One of the wrestling segments does offer the sole shining moment of ingenuity found in SANTO FACES DEATH; this comes when a cat fight breaks out in Alicia's dressing room after her match. This fight with Mario's jealous girlfriend is intercut with the second, totally uninteresting women's arena bout. Alternatively, it affords us a nice look at Elsa Cardenas in her wrestling tights, showing off those curves. 

Not Elsa Cardenas

Elsa Cardenas

Cardenas is a strikingly beautiful actress who featured in some major Hollywood productions and a slew of Lucha films. She co-starred with Elvis in FUN IN ACUPULCO (1963), was one of Mapache's women in THE WILD BUNCH (1969), and played a multitude of roles in assorted Santo and Lucha team movies as the 'La Chica Bella' in such grande epicos as THE CHAMPIONS OF JUSTICE (1970), THE MUMMIES OF GUANAJUATO (1972) and SANTO AGAINST BLACK MAGIC (1973).

Not Santo and Cesar Del Campo

The Santo Swap notwithstanding, the intentional tone of seriousness is scuppered by barrages of unintentional comedy. One of the more hilarious bits is the scene where Santo and Lt. Valle (see insert) are tailing the crooks and their courier played by the adorable Mara Cruz. Santo is especially conspicuous with his mask and bright red shirt. No attempt is made at crowd control as the wrestler draws floods of gaping onlookers. This "chase" scene, that seem to go on interminably so we can listen to the grade school filmstrip music on the soundtrack, fail to derive any sense of tension, resultant from an absence of editing prowess.

This co-pro between Mexico and Spain may not deliver much in the way of thrilling action, but it does unleash a finishing hold level of incompetence that will be as priceless for bad movie buffs as the sought after emerald in the movie.

Santo and Mara Cruz

Not Santo and Mara Cruz

SANTO FACES DEATH is arguably the World Champion of bad Santo movies, and it defends that title admirably. Only the most battle-ready of Lucha fans need step in the ring with it. As awful as this Santo adventure is, it's both entertaining in its clumsiness and frustrating in what it fails to deliver. In its defense, DEATH inexplicably manages to show up at various film festivals in honor of Mexican genre cinema and the wrestling/superhero icon, so it's obviously admired in spite of its poor qualities--most likely because of them. Fans of terrible movies might find the constant Santo swapping giggle-worthy, but there's much better "bad" Santo movies, and far better examples of the Man in the Silver Mask worthy of exploration.

This review is representative of the Rebel Crew Films DVD. Spanish language only.