Return of the Chinese Boxer (1977) review

RETURN OF THE CHINESE BOXER 1977 aka 神拳大戰快鎗手 (WAR OF BOXERS AND FAST GUNMEN)

Jimmy Wang Yu (Rapid Fist Tsao Pai Leung), Lung Fei (Black Crane), Hsieh Han (Kitsu), Emily Cheung Ying Chan (Female Ninja), Philip Ko (Chen Liu), Jack Long (Kun Pan So), Blackie Ko (Thai Fighter), Cheng Tien Chi (Thai Fighter), Yeung Fui Yuk (Nagata), Kam Kong (Monk Yen Feng), Wang Yung Hsing (Flying Dagger), Hsieh Hsing (Kin Po, Jujitsu Fighter), Sun Jung Chi (Chao Hsao Lung), Lei Chun (Colonel Wei), Ching Chi Min (Lady Fong), Ma Chi (General To), Chen Ti Men (Japanese Lord)

Directed by Jimmy Wang Yu

"Every man has his technique, and they're all different. But when you know mine... you'll be dead".

The Short Version: Wang Yu's extravagant Martial World/Kung Fu hybrid is essentially his ONCE UPON A TIME IN THE EAST; both an in-name only sequel to his Shaw Brothers directorial debut and a flashier do-over of his ONE ARMED BOXER movies with an added historical context. Wang's title boxer is a cartoonish, near-invincible hero who is always one step ahead of everybody else. The first 30 minutes promise an epic but Ku Long's convoluted script betrays itself almost immediately--veering away from jingoism to endless, increasingly wacky fighting sequences, and back again. A plethora of colorful characters and some misplaced flashbacks keep things confusing. Despite minor obstacles and repetitiveness of past flicks, the actor's last time in the director's chair is Kung Fun all the way. A mixed bag, but the sort of bag that's filled with candy in the form of Kung Fu zombies, a pistol packin' Lung Fei, a hot female ninja, and an army of steam powered Wang Yu dummies.... so dig in if you've a martial arts sweet tooth. 

The Japanese plot to infiltrate China and take over from within by ingratiating themselves with General To, an easily manipulated military leader who fancies swords. Kitsu, a member of the Izu Clan, is sent along with a female ninja to meet with the General and deliver him a gift of two special Japanese samurai swords--gradually setting the invasion of China in motion. Learning of this, a loyalist sends his niece to alert the righteous General Shang Ta and deliver to him a pair of swords and two pearls as a gift. They're ambushed by the Japanese on their way, but saved by a mysterious man possessing great kung fu skills. Discovering he's the Rapid Fist, Tsao Pai Leung, the Japanese seek out the one fighter who can defeat him, another Japanese proficient in guns and weapons named Black Crane.

In many cases, Jimmy Wang Yu movies are interchangeable in terms of the scenarios and his character portrayals. Always containing varying levels of Grand Guignol nuttery, the violence and bloodshed frequently challenged the Shaw's trademark brutality in sheer excess. As for Wang Yu's characters, they either incur an unbelievable amount of punishment; or come away with barely a scratch. There's not a lot of gore in RETURN OF THE CHINESE BOXER, but there's a surplus of insanity to go along with Wang Yu's Warner Brothers cartoon of a hero who is constantly one step ahead of the bad guys.

The title may imply a 'return' of his Chinese Boxer from the Shaw Brothers favorite, but it's a different character entirely... even though Wang's Rapid Fist Tsao Pai Leung could be any of the dozens he played before it. As far as the English export title is concerned, the famous HK personality is simply capitalizing on the earlier picture with the only similarity being he produced and directed both of them.

 
Wang Yu is a much better director than he probably ever got credit for, and there's signs of it here; despite an all-too familiar plot that unravels in fractured fashion. The actor yet again melds his two hits, THE CHINESE BOXER (1970) and ONE ARMED BOXER (1972)--the latter of which was a Kung Fu combo of the former title and Wang's career-making movie from 1967, ONE ARMED SWORDSMAN. Director Wang again delivers a pseudo-remake, but frames a Qing Era-Japanese invasion plot around a basic Fist and Kick narrative. Judging by the way the movie plays out, it would appear Wang Yu may have had a hand in the film's script, too.

 
Written by Ku Long (also listed as Gu Long), a famous and prolific writer of Wuxia epics, his script is neither as intricate nor as linear as some of his more popular works--particularly for Shaw Brothers Studio. The standard China vs. Japan motif contains little in the way of political machinations that ultimately get distracted by the cavalcade of Kung Fu battles. The Fist & Kick equivalent of a Wuxia story, BOXER is filled with an enormous amount of characters despite the paper thin plot line. Curious editing decisions give the impression the film may have run into either financial problems or Jimmy Wang Yu's ego. A confusingly placed flashback (involving the death of a Jujitsu fighter) and the last minute significance of a pair of swords and two pearls get lost in translation.

Born July 7th, 1938, Ku Long (real name Hsiung Yao-hua) began writing in 1955. While still in High School, his first published work, 'From the North to the South', had no martial arts. By 1960, he would begin his successful career novelizing the adventures of romantic, scholarly swordsmen using his own personal interests in poetry and foreign culture to formulate a unique writing style. Eventually, his writing would be turned into movies and television programs. The Shaw Brothers and director Chu Yuan put the Wuxia genre back into the limelight in 1976 with KILLER CLANS, the film version of Ku Long's classic 1971 novel, 'Meteor, Butterfly and Sword'. Over a dozen more of Ku's works were adapted for the big screen by Chu Yuan; not to mention dozens of others turned into movies by other directors. Ku Long even adapted his own novels for the screen in addition to scripts specifically written for the celluloid medium. He contracted liver disease in 1977 and passed away at only 47 years of age in 1985 from Cirrhosis of the Liver. Ku Long's penmanship graces many of the genres best works.

Directors are traditionally defined by their signature style. Jimmy Wang Yu had one in his directed efforts. Regardless of the familiarity of the whole thing, his eye for composition, low angles (especially the camera peering through a character's legs), and usage of sets are accounted for in this grand Eastern. At times the scope is epic but the narrative quickly falls back into a comfort zone with a reliance on action sequences; and there's a lot of them in RETURN OF THE CHINESE BOXER. For instance....

At the 32 minute mark, the film stops dead in its tracks for a flashback tournament sequence. Using an almost identical set to the one from MASTER OF THE FLYING GUILLOTINE (1976), what follows is a 12 minute action set piece where we're introduced to a slew of martial artists--all with their own unique fighting style. Adding little to the storyline other than to introduce two fighters who will figure into the plot later on, it's just an excuse to pad the running time. It's the best kind of padding, though. This is a KF movie, after all.

The choreo in this sequence is exquisite and varied featuring a gallery of HK cinema familiars like Jack Long (THE 7 GRANDMASTERS [1978]), Sun Jung Chi (MONKEY FIST, FLOATING SNAKE [1979]), and Philip Ko (TIGER OVER WALL [1980])--all fighting each other to the death. Genre fans will love this 12 minute marathon of martial mayhem--seeing some of the Kung Fu genres notable masters beating the hell out of one another. The fighters are further distinguished by their costumes and weaponry--some of which are intricate in design. The film's action director, Hsieh Hsing (he makes his entrance in the exact same way Lung Fei does in MOTFG), plays the Jujitsu expert, Kin Po.

Hsieh Hsing's action design is the glue that holds the picture together. Some of the fights are ambitious--evidenced in an impressive train assault near the beginning and a sequence shortly thereafter wherein Wang Yu is trapped inside an old shack while the Japanese bring it down with hooks tied to ropes. As the film progresses, the action becomes more insane with the film adding increasingly kookier elements. In some ways, the serious tone being innocuously replaced by a fantasy-oriented one works to its advantage.

Hsieh Hsing co-choreographed many of Chang Cheh's Taiwan offerings when he made a dozen movies there using Shaw capital that couldn't be extracted; some of these include MARCO POLO (1975), SEVEN MAN ARMY (1976), and THE NAVAL COMMANDOS (1977). He'd previously designed the fights on the Taiwan-lensed Shaw Fist and Kicker, THE CHAMPION (1973) starring Shih Szu and Chin Han.

Compared to his previous works with a Nipponese slant, Wang Yu's Japanese influence is even stronger this time out. They're never referred to as ninja, but Ku Long's script finds room for them--mainly in the form of a Kunoichi (female ninja) played by the alluring Emily Cheung Ying Chan in an early role. Bad guys (and girls) is something RETURN OF THE CHINESE BOXER has an abundance of.

Well known for his antagonist roles, Lung Fei gets one of his most charismatic turns as the gun-toting Black Crane, a Japanese specialist in pistols and rifles. He's a literal 'Gun Fu' expert; carrying an 8-barreled rifle and wearing a costume covered in flintlock pistols. Lung worked with Wang Yu on a number of his Taiwanese made Fist and Kick flicks, one of the most famous being THE ONE ARMED BOXER released in 1972. In that plotless epic Lung Fei played the lead heavy, a Japanese with unkempt hair and vampire teeth!

Wang Yu's movies from this period could be counted on to deliver some of the nuttiest imagery you've ever seen. There are no vampiric villains or fighters with elongated arms, but there are Kung Fu zombies and a warehouse full of steam-powered Wang Yu robots! At the beginning he's seen practicing Dummy Kung Fu--catching arrows in mid-air and Kung Fu-ing dummies from one end of a gym to the other. Elsewhere you'll see Wang walking up walls; and standing, single-legged, atop a pole wielded by Kam Kong--who played the evil blind priest in the schizophrenic ONE ARMED BOXER sequel, MASTER OF THE FLYING GUILLOTINE (1976).

English dub fans are again treated to some funny lines. One of the best is uttered within the opening minutes by a subdued Chen Ti Men, the constant cackle master of the same year's THE DEADLY SILVER SPEAR (you'll recognize the same cave set, too). Playing the Japanese lord who sets up the plot with this marvelous conversation starter, "I've invited you all here... to discuss things.... mainly the question of Chiner... amongst others..."; then there's classic dubbed Tough Guy dialog too like, "No one beats The Claw! Come on!"

Many of Wang Yu's movies leave a lot to be desired, but his directorial efforts are well made productions even if most of the time he was cloning hits from Shaw Brothers, the company that made him famous. If you're already a fan of the actor, this picture comes highly recommended. It's not quite on the level of some of his other directed works like THE CHINESE BOXER (1970), THE BRAVE AND THE EVIL (1971), or THE SWORD (1971), but there's little denying this was intended to be Wang Yu's magnum opus.... and in many ways, he has succeeded in designing a love letter to his fan-base encapsulating all the best elements of his past career.

This review is representative of the German bluray. Specs and Extras: 1080p widescreen 2.35:1; unrestored version; booklet about Wang Yu (German language only); still gallery; English and German trailer; running time: 1:39:04

The Deadly Silver Spear (1977) review

 
THE DEADLY SILVER SPEAR 1977

Jimmy Wang Yu (Lung Fei Yung), Hsu Feng (Tung Hsiao Lan), Chen Ti Men (The Old Recluse), Chang Yi (Hsu Erh Lan), Hu Chin (Wealthy Clan Leader), Wu Chia Chi (Chow Hung), Ko Chun Pang (Tung Si Yu), Blackie Ko (Mortuary Fighter, Wu Tan), Blackie Ko (Underwater Fighter, Lee Fung), Wang Kuo Fei (Cave Fighter, Hsao Hung), Hsieh Hsing (3-Section Staff Fighter, Sung), Blackie Ko (Bamboo Forest Fighter)

Directed by Sung Ting-Mei

The Short Version: Jimmy Wang Yu leaps aboard the Wuxia bandwagon--the genre having been reinvigorated by Chu Yuan's KILLER CLANS in 1976--and the style of film he first found his fame in. With the success of his MASTER OF THE FLYING GUILLOTINE (1976), the actor appears in yet another clone of that famous Shaw Brothers head-cleaving contraption that made its big screen debut in 1975. One of Hong Kong's examples of colorful, creatively kooky action, Wang Yu's unscrupulous hired assassin wages war with zombies, flying skeletons and killers who fight underwater accompanied by sonar sound effects. Every so often somebody steps in a plot hole, but these are quickly forgotten once the exceptionally edited finale--chock full of traps, double crosses and bloody action--turns up. Dub devotees will get a kick out of Wang Yu uttering lines like, "you shameless bitch!"; and the intermittently maniacal cackling of the white-haired, bi-polar villain.

Spear Master and paid assassin Lung Fei Yung is hired by a wealthy and devious female clan leader for various missions--one of which involves killing three ruthless martial arts masters known as The Devil's Three. Meanwhile, a powerful villain known as The Old Recluse oppresses and tortures a famous weapons-maker and captures his blind daughter; forcing him to build his ultimate weapon, the Death Rings--a devastating mechanical flying guillotine that hasn't been seen in ten years. With this weapon, he can rule the Martial World... although others have their own plans about procuring the spinning wheel of death.

Wuxia cinema has the propensity to be confusing--especially when they're based on novels. THE DEADLY SILVER SPEAR isn't based on a book but it's certainly confusing due mainly to its script that can't make up its mind on certain details. Stripping the narrative to its barest essentials, the storyline is your garden-variety revenge tale--a white-haired villain obsesses over obtaining the Death Ring weapon and Wang Yu's revenge-seeking spear-slinger, goes on a journey to stop him. In between are a bunch of incidental bits and pieces where assorted betrayals and last minute revelations lie in wait to ambush the viewer prior to the frantic, studio-bound finale when the spinning top with teeth shaves both trees and heads with abandon.

In the late 1970s Wuxia movies (swordplay) were in vogue again thanks to the box office success of KILLER CLANS (1976), an ornate rendering of Ku Lung's (Gu Long) classic novel BUTTERFLY AND SWORD (the film's translated Chinese title) directed by Chu Yuan for the Shaw Brothers Studio. Chu quickly followed up that hit with the garish insanity of THE WEB OF DEATH and the moody THE MAGIC BLADE (both 1976)--each film piling on more wacky elements and more cliffhanger moments than any of your finer serials from the 30s and 40s. Swordplay cinema had been in hibernation since the widespread success of Jimmy Wang Yu's Fist and Kick classic THE CHINESE BOXER (1970), and the intricate Kung Fu choreo seen in Chang Cheh's celebrated Shaolin Cycle of movies from the same time period.

Sung Ting-Mei didn't helm a lot of movies; and while this one has more than enough craziness to deter viewers from its inconsistencies (and there's lots of them), director Sung has no particular style to call his own. Nothing in his direction lets him stand out from the dozens of others making thousands of these movies back then. On the bright side, Sung's movie is never boring; and the beautiful, diverse set design is as imaginative as, and crucial to, the sideshow frivolity found in Chen Chu Huang's ailing screenplay. To be a fan of this genre, you often have to be forgiving of certain things; but still..... 

Chen Chu Huang's convoluted script could have easily been less dense; but this is the nature of the independent Kung Fu movie scene. Motivations and actions frequently make no sense--contradicting events that had transpired moments earlier. For example, Wang Yu gets poisoned by this sorcerer who resides in a mortuary; given only two hours to live, this plot point simply disappears immediately thereafter. There are many other examples which are covered below....

An even bigger question mark is how the film unravels its story--opening with Wang Yu's Spearman being hired to kill The Devil's Three, a trio of eccentric, yet powerful fighters. But why? In typically mysterious Wuxia form, a character whose identity we're not supposed to know discusses the importance of their extermination with the duplicitous female who hires Lung Fei Yung (Wang Yu) to do the job for them--"It's just 10 years ago since that big massacre. They wiped out those 8 Kung Fu schools... and killed about a 120 Kung Fu experts". Naturally, this set-up would lead you to believe that Lung being paid to hunt down these three for unspecified reasons was the story. Aside from a vague mention of interfering with "our plans", we never specifically learn why. But a short time later when the real plot is revealed, the why is rendered pointless anyways.... 

 
While we're on the topic, The Devil's Three, as inconsequential as they prove to be, are an interesting trio. The first, Lee Fung (the first of three roles by Blacky Ko), the submarine swordsman as we'll call him, is supposed to be invincible underwater; yet Lung Fei Yung is able to kill him during a rather silly skirmish below depths. The second is a one-eyed cave-dweller who fights with twin axes. Played by Wang Kuo Fei (an actor who appeared in many of Wang Yu's movies), he also played the unnamed swordsman who attacks Lung at the beginning. The third is Blacky Ko again, this time playing a snake-loving sorcerer who uses all sorts of arcane, low budget trickery and Halloween sound effects to combat Wang Yu to no avail.

 
Wrapped up within the first 30 minutes, it becomes obvious this narrative ploy was little more than a means to pad out what could, and should, have been a very linear storyline. It's all entertaining nuttiness regardless, just be prepared for one of the typical scripting ambushes where a new tale abruptly takes over for another, never to be heard from again.

This second plot concerns the search for the maker of The Death Ring, a Flying Guillotine knock-off that looks exactly like a spinning top that flies and can sever your head. It is now revealed that it was this weapon--and not The Devil's Three--that not only caused the deadly massacre mentioned at the beginning, but forced the three assassins into retirement. Learning this makes the first plotline obsolete. The man who wants this weapon is a white-haired villain (Chen Ti Men of the same year's RETURN OF THE CHINESE BOXER) who lives in a castle high in the snow-capped mountains. Often yelling his lines and cackling interminably, we never get his name other than The Old Recluse.... unless the dubbed line, "lousy, despicable bastard", counts.

 
Somewhere within the hallowed halls of Hong Kong's and Taiwan's Wacky Weapons Hall of Fame, there's a place for The Death Ring. Of all the imitations of Shaw Brothers' terrifying cranial-cleaver, The Death Ring is arguably the most ridiculously improbable. Looking like a child's spinning top with a buzzsaw at its center, it's activated by pulling a string and away it goes. But unlike the nearly invincible Guillotine of the Shaw movie--destroyed only by another Guillotine--The Death Ring is rendered useless by a simple piece of cloth tossed into its mechanism!

Wang Yu's mantra, "People don't interest me... gold does" is right out of a European western; a genre which Jimmy Wang Yu and his stone-faced acting style would be right at home. The obvious devotion to samurai cinema of his earlier works is all but non-existent at this point in his career. Much like the stubble-faced gunslingers of the Italian West, his character has no allegiance to anybody, seemingly taking the money so long as, in his own words, the price is right and the targets deserve it; how he knows the people he's hired to eliminate deserve to die is seemingly of little interest since the individuals buying his services constantly double cross him.

This is one of Jimmy Wang Yu's roles where, no matter what happens onscreen, his expression never changes. He's the polar opposite of his energized spear master essayed in the excellent THE DESPERATE CHASE (1971). For THE DEADLY SILVER SPEAR, Wang opts instead to do his best imitation of a brick wall while wandering through the various sets--both interior and exterior--demonstrating Force powers and carrying a retractable spear that is frequently run through the cast members and extras at regular intervals.

Wang Yu's lengthy, expeditious career was slowing down by 1977 (he only had seven movies released that year). The actor looks genuinely tired, with little of the spirited machismo of his earlier works. Wang Yu is simply going through the motions at this point; the colorful sets and the above-mentioned gimmicks are diversions to mask his sedated performance.

Award winning actress Hsu Feng plays Lung Fei Yung's blind girlfriend. Likely her appearance is for marquee value as she isn't in the movie all that much. Her career spanning association with King Hu began with her debut in his DRAGON INN (1967), garnering international fame in A TOUCH OF ZEN (1971), a film that won an award at Cannes in 1975. The movie was not a success in Hong Kong but went on to become one of the most famous examples of Asian cinema. Hsu Feng won a Best Actress award in 1976 for ASSASSIN; although she isn't entirely convincing playing a blind woman. In the 1980s she phased out her acting career and became a film producer.

The other lady in The Deadly Silver Spear's life is the cunning, unnamed (at least in the dubbed print) woman of wealth played by erotica starlet Hu Chin. The typical, calculating female of these movies, Hu Chin ports over her sexually charged demeanor of numerous sex romps to this swordplay actioner. Possibly the film's most intriguing character, we learn little about her aside from the fact she has lots of money, loves men, and takes whatever side is beneficial to her at that moment.

Considering his stature at the time, Chang Yi fares the worst of all the major players. He doesn't get a lot to do and never really comes alive till the end during his excellent duel with Wang Yu. Both men worked together a few times--the best of these being FOUR REAL FRIENDS (1974), aka DRAGON SQUAD. Incidentally, Chang Yi acted as the main villain with a similar Flying Guillotine weapon in a film released the previous year titled SHAOLIN KUNG FU MYSTAGOGUE (1976). He's quite a presence as the main villain in both EAGLE'S CLAW (1977) and THE VICTIM (1980).

The prolific Liu Chia Yung, brother to the famous Liu Chia Liang (Lau Kar Leung), did the action design. The duels aren't among his best work although the battle between Wang Yu and Chang Yi at the end is arguably the best one in the movie--set inside a chamber that's been set aflame via some trap devices. It's the most grounded of the fight sequences whereas the rest are enhanced with gimmicks.... whether they be ninja-like swordsmen hiding under the snow; or the bamboo forest fighter who walks up trees; or the flying skeletons that spit red poison from their bony mouths!

Around the time Liu was working on this movie, he was making his directing debut with HE HAS NOTHING BUT KUNG FU (1977) and co-founding Lau Brothers, a production company with his older brother, the late Liu Chia Liang.

Regarding this version of THE DEADLY SILVER SPEAR, it is complete. Some of the violent bits have been reinstated from a source of lesser quality. Those used to full screen versions of this picture will be in for a treat.

The appeal of Wang Yu's movies has a lot to do with the carnival aura that comes with them. Bizarre characters are commonplace in the genre but some are more colorful than others. THE DEADLY SILVER SPEAR is of that class. Overflowing with eccentricities that sustain an already muddled script, fans (and maybe even some non-fans) will find much to enjoy here. It's not a patch on the actor's Shaw Brothers features, or any of his early directed works, but this SILVER SPEAR is delightfully DEADLY fun.

This review is representative of the Imperial Pictures/KNM Home Entertainment DVD. Specs and Extras: 2.35:1 anamorphic widescreen; German and English dubbed version; photo gallery (German promotion only); running time: 01:25:52