What Price Honesty (1980) review

WHAT PRICE HONESTY 1980 aka THE CONSTABLES

Pai Piao (He Zhong Heng), Sun Chien (Luo Zhang), Li Hsiu-Hsien (Ying Hao), Lo Lieh (Sun Long), Chiang Han (Chief Liu), Chan Shen (Fifth Master), Chiang Nan (Magistrate, Lord Ge Wei Wu), Yang Chi Ching (Imperial Envoy, Lord Huang), Li Li-Li (Ying Hao's wife), Lin Hsiu-Chun (Shu Lian)

Directed by Yuan Hao Chuan; Screenplay by I Kuang & Yuan Hao Chuan; Art Director: Johnson Tsao; Choreography by Yuan Hsiang-Jen (Yuen Chueng Yan)

"In this corrupt society, justice can't be done with mere principles."

"What's the price of honesty?...I advised you before and you didn't listen to me."


Upon graduation from the police academy, three friends are immediately assigned to Fu Yuan town, a city rife with criminality and corruption. Disgusted with the immorality inherent in the police force, the three friends vow to stand up for justice and dispel the unethical persecution of the innocent townsfolk by the shady officials. By doing so, the three friends put their lives and the lives of their loved ones in mortal danger.


Director Yuan Hao Chuan delivers a masterfully shot, yet extremely violent and brutal movie that is one of the best of the world reknowned Shaw Studio. It's a swordplay drama that among the studios many cinematic endeavors, it's one of the Shaws most downbeat and depressing movies, and that's saying a lot. With so many other 'gloom and doom' productions like FLYING GUILLOTINE 2 (1978), KILLER CONSTABLE (1980) and USURPERS OF EMPEROR'S POWER (1983), one would think that happy ending were against company policy at Shaw Studio. Yuan only directed two Shaw Brothers movies. The other one was the mundane and rather foolish, THE FIGHTING FOOL (1979). Both films are the polar opposite of one another and that film looks nothing like the work of the man who directed WHAT PRICE HONESTY.


In an interview, director Yuan stated that his maiden effort, THE FIGHTING FOOL (1979) was done strictly as a commercial venture and not what he really wanted to do. Furthermore, WHAT PRICE HONESTY (1980) was a film he was most interested in handling. In his own words, "Although it is a costume drama, it is designed to reflect the gloomy aspect of the bureaucracy, the social injustices and human frailties which are also evident in present day society." Yuan Hao Chuan was previously a television director of some repute.


THE FIGHTING FOOL (originally known as GETTING THE LION'S SHARE) was his first of two films for Shaw Studio. Despite taking several months to write the script, Yuan's first movie is a mess much of the time with only an occasional bright spot. However, he makes up for that films shortcomings with an expert hand at weaving a wonderfully grim storyline and characters you feel for.


Jason Pai Piao is the main star and he delivers a dynamite performance displaying a lot of determination and tragedy that, by the last half of the film, turns to bitter hatred and bloody revenge. Pai played a slightly similar role in Mo Tun Fei's A DEADLY SECRET (1980), a film that sees him viciously tortured as he is here in this picture.


In one of the most harrowing scenes in WHAT PRICE HONESTY has Zhong Heng wrongfully arrested and humiliated. He is then placed inside a jail cell holding all the criminals and murderers he had taken into custody. One of them is Sun Long (Lo Lieh). Having been blinded in one eye during an earlier scuffle, Sun and the others beat Zhong mercilessly even urinating on his face and forcing him to eat a cockroach among other things.


One thing I've noticed about the depiction of constabularies in Shaw Brothers movies is that they are often far more vile and cruel than the criminal element. From the stance taken by the law in this film, the life of a civilian surely was filled with terror and the threat of violence and certain death should the rules be questioned. The law seen in WHAT PRICE HONESTY (1980) is one of the most sadistic representations ever put to film. The police commit all manner of savagery. Not only taking bribes, collecting "protection" money and releasing criminals once they buy their freedom, they also partake in acts of butchery and murder.


Another movie with the 'Bad Cop' angle is Chang Cheh's FIVE VENOMS (1978). In that film, money talks just as it does here and no one is to be trusted. Those of an honorable and trusting nature end up framed, tortured and murdered in gruesomely sadistic fashion. The saying "Money is the root of all evil" is the central motif of WHAT PRICE HONESTY. Other Shaw movies featuring crooked constables (or their employers) of one sort or other are the classics, KILLER CONSTABLE (1980) and SECRET SERVICE OF THE IMPERIAL COURT (1984).


The screenplay by both I Kuang and the director perfectly conveys the hopelessness of fighting against corruption especially when immorality has penetrated not just the judicial magistracy, but higher up the chain of the supreme court officials. Even though they are outnumbered, those possessing dignity and rectitude will die with their values intact. A similar scenario was enacted in Kuei Chi Hung's masterfully directed and photographed, KILLER CONSTABLE (1980). That film not only made the Qing the main characters, but even went so far as to make a Manchu the "hero". The atmosphere is just as grim and doom laden as WHAT PRICE HONESTY.


Yuan's sadistic view of law and order contains many a memorable sequence. Many of these scenes feature some of the most cruel and callous individuals you are ever likely to see populating a movie. One of the most startling scenes involves a rather long bit where a character attempts to rape a young girl. Stripping her clothes completely away, the girl fights back. The camera frequently keeps her fully naked frame where the viewer can see it and it's right disturbing especially when the attacker knocks her unconscious and tries to have his way with her.


Waking quickly, the rapist then stabs her with a spear as help finally arrives. One makes this scene so unusual is the length of time the naked actress is shown onscreen with nothing to obscure her genitalia. I am curious if this print was a complete one considering the HK cuts generally were censored to a slight degree as opposed to prints for other Asian territories which were shorn of much of their nudity and violence. The prints for outside territories contained the stronger moments.


There's another scene that is outrageously brutal. To keep from revealing too much, it involves a woman who is targeted by the villainous constables. They go to her home and proceed to hang the innocent woman. As the villagers attempt to get inside, Chief Liu arrives and simply stands there waiting for the woman to slowly choke to death. With seemingly everyone out of the way who could expose their criminal activities, the violence continues temporarily unabated with the deathly frightened villagers in the middle.


That perennial bad guy, Chan Shen plays the seedy Fifth Master and there's nothing at all honorable about his character. Chiang Han plays the even nastier Chief Liu. He has a grudge against the three honorable and green graduates from the academy. Once the officials have Sun Long cornered at the ironically named 'Temple of Chivalry', Chief Liu sends the three men inside the temple to arrest Sun and free a police hostage being held within the refuge. Zhong Heng manages to injure Sun in the skirmish, but Ying Hao is brutally killed.


Once Sun Long is arrested, the captive constable emerges engaged in conversation with some of his associates, insensitive and brazenly ignoring the fact that one of the three men that stand for justice and refused to accept bribes lies dead inside the 'Temple of Chivalry'. What makes this scene even more impactful is that Ying Hao was relishing his birthday prior to being called away to duty.


The battle in the restaurant between Pai Piao and the criminal constables is brutally well done and executed to perfection. Betrayed by his close friend, Luo Zhang, Zhong Heng is set up by the corrupt police force for a pending heist of the police treasury. He is surrounded by his colleagues and engages them all in a violent confrontation. After his capture, it is learned that Luo Zhong, under duress, only agreed to help trap his friend because his family had been held hostage by Chief Liu's men.


The battle in the city streets towards the end is also an exciting sequence filled with enough adrenaline pumping heroics, spurting blood and severed limbs to make Chang Cheh proud. Pai Piao really cuts loose with his performance in this sequence as well as the scene immediately thereafter at the Temple of Chivalry where the only two good men have a last stand till the Imperial Envoy arrives to acquit them of their frame up. As incredibly depressing as the ending is, it nonetheless contains the macho bravado "Brothers till we die" attitude that permeates the best works of Chang Cheh. Fans of Cheh's films will find a lot of interest here in Yuan Hao Chuan's wonderful movie.


WHAT PRICE HONESTY (1980) is a highly recommended, lesser known Shaw Brothers production that doesn't deserve to remain unknown. It has a compelling and thought provoking storyline. The extreme violence often takes center stage, but the plight of the characters onscreen, whether minor or major, maintains the viewers interest right to the end. If you are a fan of martial arts films, especially those with a great story and characterization, than this is definitely one for your collection.

This review is representative of the IVL region 3 DVD from Hong Kong.

Zoltan, Hound of Dracula (1977) review

ZOLTAN, HOUND OF DRACULA 1977 aka DRACULA'S DOG

Michael Pataki (Michael Drake; Count Dracula), Jose Ferrer (Inspector Branco), Reggie Nalder (Veidt Smit)

Directed by Albert Band; Makeup Designer & Special Effects: Stan Winston

Michael Drake: "That's pretty wild, Inspector. If what you say is true, I'm gonna make a lot of money."

Inspector Branco: "Oh?"

Michael Drake: Yeah, I'm gonna sue all those people who have been making 'Dracula' pictures without my permission."


After a Russian excavation in the Romanian countryside unearths the tomb of the Dracula family, the undead canine servant of Dracula is revived by a foolish soldier. The bloodthirsty doberman then resuscitates his master, the quasi-vampire, Veidt Schmidt and both embark on a journey to find the last descendant of the Dracula clan. In order to survive, they must find another Dracula to serve. Residing in America, Michael Drake is the man they seek. Learning of this information after being alerted to the newly discovered tomb, Inspector Branco, learned in vampire lore, attempts to find Drake before the vampiric duo reaches him. On a camping trip, Drake and his family are beset upon by Dracula's dog and an increasing amount of undead mongrels.


Unintentionally hilarious, Albert Band's movie about vampire dogs is serviceable at times and downright creepy in places, but several ridiculous moments plant the film firmly in the realm of bad cinema. The whole exercise is played dead straight which only adds to the momentum of mirth one will get from some of the sillier and utterly stupid scenes in the film. It's not all bad, though, yet the preposterousness lends the picture an enjoyable edge that makes it a fun time waster for bad movie lovers.


What exactly prompts the soldier left to guard the tomb to remove the stake from the enshrouded corpse within the open casket? It's never made clear, nor mentioned. I guess one could argue that the soldier was beckoned by the spirit of the dead dog much as in some of Hammer's Dracula films the undead count still holds limited, but fearful sway over the surrounding villagers. Even still, the scene is handled with little verve as the soldier simply pulls out the stake just prior to the rejuvenated hell hound placing a massive bite on the hapless man.


Another curious question is that if both Zoltan and his master, Veidt Smit needed a master to serve, why could they not simply remove a stake from any of the other caskets within the tomb? Again, I guess one could argue that the subsequent cave in prevents this from taking place. At any rate, there would simply be no movie if it was that easy.


Another moment that's one of the most goofy and amazingly bizarre in the film is an exposition scene with Michael Drake. He's going through a chest filled with old family photos and other paraphernalia. He finds a picture of his descendant, Count Dracula(!) with Zoltan poised alongside him(!!) And yet again, it's never explained just why the visage of Dracula and his vampirized dog are able to be captured on film when one of the most common of vampire lore is that these creatures cast no reflection in mirrors.


Also, despite the eerie look of the vampire dogs, there's a shot of a recently revived puppy which no doubt was intended to instill chills in the audience. Instead it brings about snickers. And there's also a scene where Zoltan has a flashback(!) This predates a similar scene from Wes Craven's ill fated and terrible 1984 sequel to his own HILLS HAVE EYES (1977).


As already stated, it isn't all grade A cheese, the sequences involving the dog attacks are very well done and the makeup for them is also of a high standard even if the bulk of the film strives for mediocrity. The doberman "essaying the role" of Zoltan is intimidating and performs numerous stunts. The shots of the dog with his long, thick fangs dripping with blood and his glowing eyes are a disturbing shot. The sound effects used for the canines after they've been turned are also effective. The other undead dogs are given similar makeup appliances.


There are also some memorable shots in the picture. One in particular is an assault on a tiny shed housing both Drake and Branco having fled the pursuing animals. There's a shot of Zoltan atop the shed attempting to tear into the roof with a large full moon in the background. The ending is also exciting and handled very well with the group of vampire mongrels launching a final attack on Drake who is trapped within his car. Two hunters come to his aid as does Branco having just done away with Smit. The other dogs staked, Zoltan runs away with Drake in pursuit. The two have a faceoff at the edge of a precipice with a spiked fence below and you can probably guess the rest.


Reggie Nalder, who played Albino in the infamous exploitation flick, MARK OF THE DEVIL (1970), was a natural at portraying villainous characters needing very little makeup to look menacing. He doesn't get to do a whole lot here except skulk around and speak telepathically to Zoltan, or drive around in a black hearse while the undead mascot sleeps in his own personal coffin. Nalder also was featured in what I think is simply the scariest vampire movie (or mini series) ever made; SALEM'S LOT (1979). Nalder played the memorably terrifying role of the NOSFERATU inspired head of the undead, Mr. Barlow.


Future award winning special effects wizard, Stan Winston, did the makeup effects for this film. He also did effects for other exploitation pictures such as PARASITE, another Band production. It was also a 3-D monster movie that was Demi Moore's first acting gig. Winston also handled the gore for MANSION OF THE DOOMED (1976), a gruesome re-telling of Le Franju's EYES WITHOUT A FACE starring Richard Baseheart, Lance Henricksen and Vic Tayback. An interesting note about that film is that it's directed by the star of ZOLTAN, HOUND OF DRACULA (1977), Michael Pataki.


Michael Pataki was a regular character actor in many television programs and numerous drive in exploitation movies throughout the 1970's and into the 1980's. For ZOLTAN, he does double duties playing Count Igor (?) Dracula in a flashback sequence and the lead protagonist. He had the lead villain role in the strange vampire movie, GRAVE OF THE VAMPIRE (1974) and a bit part in RETURN OF COUNT YORGA (1972). The blaxploitation movie SWEET JESUS, PREACHER MAN (1973), the quirky THE BABY (1973), THE BAT PEOPLE (1974), LOVE AT FIRST BITE (1979), THE GLOVE (1979), DEAD & BURIED (1981) and ROCKY 4 (1985) were some of the bit parts or supporting roles Pataki partook in during his long career.


For fans of the original STAR TREK, Arlene Martel, who was T'pring on the 'Amok Time' classic episode, plays the role of Major Hessle during the beginning. She is onscreen for the first 15 minutes.


Jose Ferrer was an Oscar winning actor who appeared in a lot of prestigious films, but also did his fair share of exploitation and trash cinema. He appeared in movies like the horror action flick, CRASH! (1977), the big budget bad movie, THE SWARM (1978), the monster in the sea flick, BLOOD TIDE (1982), Jackie Kong's no budget star studded trash non-classic, THE BEING (1982), the violence laden Bronson vehicle, THE EVIL THAT MEN DO (1984) and the big budget, but trashy as hell David Lynch epic, DUNE (1984).


Albert Band (whose son Charles, would torture audiences to no end with numerous movies featuring various pint sized monsters) handled the direction and shows little of the flair he displayed on some of his earlier productions. Band also directed an interesting Italian western entitled THE TRAMPLERS from 1966 which starred Gordon Scott, Joseph Cotten, James Mitchum and Franco Nero. Band also had a hand at directing some of MASSACRE AT GRAND CANYON (1965) which was credited to Sergio Corbucci. Band also directed the pilot episode of the aborted HERCULES tv show. Entitled HERCULES & THE PRINCESS OF TROY aka HERCULES VS. THE SEA MONSTER (1965), the action packed 50 minute film starred Gordon Scott amidst treachery and a gigantic lobster like monster devouring female sacrificial victims by the seaside.


ZOLTAN, HOUND OF DRACULA (1977) is a mercilessly silly movie, but one that possesses some worthy moments. Few and far between as they may be, aficionados of bad movies will no doubt have a howling good time with this, the only vampire dog movie in existence that I'm aware of. Occasionally hilarious and fun, there's enough spooky bits spread out, but even these are swallowed up by the inherent goofiness of the whole thing. Nonetheless, it has a charm all its own that will most probably only be appreciated by those with eccentric taste in movies.

This review is representative of the Anchor Bay region 1 DVD.