Chang Cheh's 10 Worst Action Films

Chiang Sheng (middle) as Na Cha in the psychedelic madness of HEAVEN & HELL (1977)

CHANG CHEH'S TERRIBLE TEN: THE TEN WORST CHANG CHEH SHAW BROTHERS MOVIES

Recently I submitted what I considered to be the 13 top quality productions from Hong Kong's most influential filmmaker. Not all of those 13 were great movies, but great entertainment. I tried to create a balance among his spectrum of Shaw productions. This time out, I am listing what I consider to be his worst movies. None of his post Shaw work is included here as many of those would hog space on this list. There are only ten of them this time. Now this isn't to say that I don't enjoy some of the films mentioned herein, it's just I consider this ten to be either of far lesser quality, or downright awful when compared with some of the directors classier films.

Monsters do battle in the totally bizarre experimental Peking Opera fantasy film, THE FANTASTIC MAGIC BABY (1975)

Some of these titles could have been much better than the way they turned out, but in some cases, various production problems prevented that. Some others seem to have simply been shot with left over money from far more prestigious pictures resulting in less attention paid to them. Some were experiments by the director eager to dabble in different styles of filmmaking; well aware that these experiments could flop badly, and that they did.

Kuan Feng (left), Wang Li (middle) and Lung Tien Sheng (right) in 10 TIGERS FROM KWANG TUNG (1980)

There aren't a lot of directors that are, or were willing to leave their comfort zone and explore new outlets of cinema. In some ways, Chang Cheh was very much like his resolute heroes in his movies--staring death in the face against overwhelming odds knowing that this battle could be his last.

The iconic Fu Sheng as NA CHA, THE GREAT (1974)

1. NA CHA, THE GREAT (1974)

Alexander Fu Sheng gets his first solo vehicle sans the participation of his frequent screen co-star, Chi Kuan Chun. This unusual, but often times meandering kung fu mythological fantasy film was shot in Taiwan under the Chang's Co. banner with distribution by Shaw Brothers. Since Shaw's had so much capital there that couldn't be extradited, Chang Cheh was sent there to shoot movies with the funds. This curious, yet very ambitious production is hindered by obviously weak effects work reportedly the work of a crew from Japan. Either way, most of the effects are all performed in camera, or the result of rear projection. As primitive as they are, some of the effects shots are inventive and the film isn't a total loss, it's just not very engaging.

Na Cha annihilates the Dragon King's minions within his undersea kingdom

Fu Sheng plays his role as a mischiveous yet powerful young man. Parallels can be made with Christianity when Na Cha sacrifices himself to save his people to the enraged Dragon King. He is later resurrected as a God himself and frees the oppressed people. The film does contain the usual Chang Cheh violence and at one point, the Dragon King's undersea disciples erupt in geysers of blue blood! There are monsters, too. The film is based on ancient Chinese mythology. The Shaw's also produced NA CHA & THE SEVEN DEVILS (1973) prior to this film.

Hung Si Kwan (Chen Kuan Tai in middle) rallies the troops in MEN FROM THE MONASTERY (1974)

2. MEN FROM THE MONASTERY (1974)

Quite possibly the sloppiest of Chang Cheh's Shaolin Cycle. The film is unraveled in an interesting fashion. It's broken up into multiple parts about twenty minutes long each detailing one of the three main protagonists before a big and bloody showdown closes the film. Aside from a good amount of gore, and fight scenes, the film is rather sloppy and never quite gels the three story arcs to where you even care about what is transpiring on screen.

The gruesome finale of MEN FROM THE MONASTERY

This same exact movie was remade by Chang the following year and released in 1976. Entitled SHAOLIN AVENGERS, that film also used an unusual method in which to tell its story. Told intermittently in flashback amidst a big battle, Cheh was far more successful there. As it stands, MONASTERY is just mediocre, but a good time if you crave lots of disjointed fights and slashed and impaled bodies. Other than that, there's little of substance here. The bulk of the finale is shot in black and white due to the extreme amount of violence and blood on screen.

Ting Hua chung as the title character in Chang Cheh's fantasy misfire

3. THE FANTASTIC MAGIC BABY (1975)

Chang Cheh was obviously fascinated with fantasy films as he made a number of them throughout his long career. None of them were very successful, but no one can say the director wasn't versatile, or daring to take on new ideas. Here, he directs a film version of one of his inspirations--the Peking Opera. Adapted from the famed story, 'Journey To the West', it is literally an Opera and filled with gaudy and colorful characters and costumes. The entire film appears to have been shot on a single sound stage.

The Monkey King and company from THE FANTASTIC MAGIC BABY (1975)

The film itself is only a little over an hour long. The remaining 30 minutes is something of a documentary on the Peking Opera itself. One of the most peculiar of Cheh's output, the film was a massive stink bomb upon its initial release. The lead, Ting Hua chung, was also featured briefly in Cheh's MARCO POLO (1975). There are also monsters on hand such as tree people and stone men. The action scenes and the operatic sets are easy on the eyes, but the way in which the film is told will no doubt put much of the audience off.

Li Yi Min (left), Chi Kuan Chun (middle) and Fu Sheng (right) pig out in Cheh's awful MAGNIFICENT WANDERERS (1977)

4. MAGNIFICENT WANDERERS (1977)

One of the absolute worst kung fu movies you are ever likely to lay your eyes on. It's difficult to fathom that this is indeed a movie from the revered director. Filled with unfunny comedy (a year before it became fashionable) and random stupidity, not even the combined talents of David Chiang, Fu Sheng, Chi Kuan Chun, Li Yi Min and three of the venoms in minor roles can muster enough energy to bring this miserable movie out of its miasma of mediocrity.

Chiang Sheng is first to notice that something is terribly wrong in the terrible MAGNIFICENT WANDERERS

A truly terrible experience that has something to do with the search for a stolen fortune in gold. There is one funny moment that is a parody of Cheh's exaggerated death scenes wherein four men are run through with a spear only to not quite realize it momentarily. Chang Cheh was definitely in a transitional stage by 1977, unequivocally his worst year of directing. Whether he was simply exhausted, or tiring of filmmaking in general, the films of Chang Cheh went downhill from here on out. Changing audience trends were also a factor, but very few movies would reach the level of quality as his earlier, more respected pictures.

Fu Sheng and Chi Kuan Chun prepare to go out in a blaze of glory in NAVAL COMMANDOS (1977), a film that had a lot of potential

5. NAVAL COMMANDOS (1977)

Another bad movie from 1977. This one isn't so much bad as it is plodding and hampered by what would appear to be a rushed schedule. Once the big budget extravaganzas Cheh had been dabbling in for the last few years were losing increasing amounts of money (whether from serious controversy or audience disinterest), the remaining big movies from the renowned filmmaker were severely scaled down and NAVAL COMMANDOS is one of them.

From left to right-Kuo Chui, Tang Yen San, Chiang Sheng and Lu Feng are part of the NAVAL COMMANDOS

Shot with the cooperation of the Taiwanese Naval Fleet and Air Force, one gets the impression this film could and should have been so much more. The plot is very interesting and is something of a 'Dirty Half Dozen', but aside from a few choice moments, the film never truly comes alive. Even the finale is limp save for a few typically macho moments of heroic grandeur as only the director could showcase.

Lo Mang in a sticky situation from the colorful and ambitious, yet outrageously bizarre mind trip, HEAVEN & HELL (1977)

6. HEAVEN & HELL (1977)

Easily the most bizarre and problem plagued production Cheh worked on. A number of his other films were saddled with various difficulties forcing the film to be shut down, but this one began production in 1975 while Cheh was in Taiwan and lack of funds caused the production to close. It resumed in 1977 when he returned to Shaw studio. Unhappy with the finished product, the Shaws didn't release it till 1980.

After Fu Sheng and his real life wife, Jenny Tseng sing a duet together, a group of thugs enter and throw down some dance moves in one of the more inexplicable sequences in the film

What remains is a seriously confusing mess of a movie filled with singing, dancing kung fu sequences, an over abundance of surrealism and lots of kung fu fights featuring the soon to be christened Venom crew. The film was originally began as THE HELL and took place in Heaven, Earth & finally, Hell itself. Considering the problematic production, the film as it is displays lots of ambition and truly could have been something special.

To get into Heaven, the wronged souls have to fight their way out of Hell. Kuo Chui duels with some of Hell's minions

Seeing it now, it's a missed opportunity. However, if one can make it past the more confusing aspects, there are a lot of good and somewhat bloody fight scenes featuring the Venoms. The bulk of the film takes place in Hell and these scenes are rather striking and do offer some quirky entertainment value. However, this film is not for all tastes.

Kuo Chui and Lo Mang

7. KID WITH THE GOLDEN ARM (1978)

A major fan favorite, it is still rather sloppily put together with many of the actors appearing tired or just going through the motions much of the time. It's as if rehearsal footage was used instead of a real take. Even still, Cheh's colorful and gory comic book caper can be fun in the right mood. It's Lo Mang's showcase, but it's a shame it couldn't have been in a better movie. Wei Pai plays what seems to be a parody of Chang's swordsman hero from years prior.

The best fight in the movie; a wonderful piece of choreo between Lu Feng (left) and Chiang Sheng (right) that ends in a wildly gory finish

The amazing battle between Lu Feng and Chiang Sheng is the lone major bright spot in the entire picture. It's definitely not the worst wuxia/kung fu movie, but it's easily one of the least of Cheh's later output. The director was far more successful at capturing a superhero flavor with his FIVE ELEMENT NINJAS in 1982. The film suffers from some seriously cramped sets and an overall cheap look. Nonetheless, many fans adore this movie. I am one of the few who does not.

Left to Right-Lo Mang, Wei Pai, Sun Chien, Ku Feng, Kuo Chui, Dick Wei, Yang Hsiung, Ti Lung, Chiang Sheng and Fu Sheng

8. TEN TIGERS OF KWANG TUNG (1980)

Another slapdash production that ran into several problems resulting in the picture being put on hiatus for a time. Fu Sheng injured himself on another movie and Wei Pai suddenly left to work for Golden Harvest (where his career went nowhere). A lot of sequences had to be scrapped and the remaining footage was salvaged by creating an entirely new storyline told in flashback. If the flashback scenario sounds like SHAOLIN AVENGERS, you'd be right, only here it's not done nearly as well. TEN TIGERS also utilizes other story motifs from numerous other Chang Cheh motion pictures. An odd bridge between Cheh's old and new crew, it is still one of the directors sloppiest films, but out of his control nonetheless.

Kuan Feng and Lung Tien Sheng

Begun in 1978, the film was finally completed in 1980 after Cheh went to Taiwan to find new performers with the intention of turning some of them into stars. Chen Hsao Hou and Lung Tien Sheng were two of those performers. The fight scenes are good, but jarring considering you can tell a big difference in the choreo from the original portions of the film and those that were shot later featuring Cheh's new crew. The only real plus the film has going for it are some brutally creative gore killings. The finale features one of the most endearingly gruesome death scenes in Cheh's filmography and that's saying something. The uncut HK DVD is a bit better and more enjoyable than the heavily truncated US bootleg edition, but for this movie, that's akin to preferring a stomach virus over a migraine.

Sun Chien and Kuo Chui

9. ODE TO GALLANTRY (1982)

Chang Cheh enjoyed a good swordplay story and attempted a number of them patterned on the Chu Yuan style of Romantic Swordsman movie. He admitted he wasn't very good at doing them and this film is no exception. Cheh adapts Jin Yong's novel to the screen in what I hear is a fairly faithful representation up until the conclusion where he opts for a more traditional kung fu laced bloodfest. It's all fairly mundane and the film is light hearted for the most part save for a gruesome moment here and there.

Wang Li (middle) plays a powerful figure that straddles the line between a hero and a villain

The story is good, if confusing and fans of Kuo Chui will enjoy his role here playing twins. Kuo's character of 'Bastard' is naive and extremely gullible, getting himself into one troubling situation after another frequently suffering for the actions of the twin character also played by Kuo Chui. The fight scenes are nothing spectacular, but things pick up towards the end. Venom fans will still want to see the movie, but it's one that is soon quickly forgotten.

Ricky Cheng Tien Chi

10. THE WEIRD MAN (1982)

Totally demented wuxia trash is made all the more lamentable in that it was Chang's Shaw Brothers swan song. What's even worse is that the director, very ill at this point, would continue to direct more confoundingly ridiculous fantasy films independently in Taiwan. The fight scenes in WEIRD MAN are of top quality and the work of Cheng Tien Chi and Chu Ko encoring from their outstanding work on FIVE ELEMENT NINJAS.

Ricky Cheng in the curious fantasy kung fu failure, THE WEIRD MAN, Chang Cheh's last production for Shaw Brothers

Here, Cheh creates a magic movie from the famous 'Romance of the Three Kingdoms' literary classic fashioning a bizarre supernatural wuxia picture that is very similar to his NINE DEMONS (1983) and also features much the same cast. Only here, the production values are of better quality, but that isn't saying much. A showcase for Chao Kuo (he fought the Earth element in 5EN), the opening credits features some amazing combat with him and several opponents. There's nothing wrong with the action, it's just everything else around it. No one in HK cared much as the film only managed to rake in $HK466,847. For completists only.


ADDENDUM:


After Chang Cheh's contract ended and was not renewed, he went to Taiwan and started his Chang Ho company. From there he made over ten more films between 1983 and 1993. These included ATTACK OF THE JOYFUL GODDESS, THE NINE DEMONS (both 1983; both horrible beyond belief), THE SHANGHAI 13, THE DANCING WARRIOR (both 1984), CROSS THE RIVER (1988), SLAUGHTER IN XI'AN, HIDDEN HERO (both 1990) and NINJA IN ANCIENT CHINA (1993) among them.

Chang Cheh's 13 Best Action Films

The king prepares to make a wager with the sly ambassador over the attacking general Ming; which of his 13 sons to send out to take the job of killing the general.

'THIRTEEN SONS OF THE YELLOW DRAGON':

THE 13 BEST CHANG CHEH ACTION FILMS

This is simply my Thirteen Best Chang Cheh films and what I feel are his best movies. Considering the man directed close to a hundred pictures, narrowing it down to thirteen is a very difficult task. These 13 are in no particular order, by the way, but according to their year of production. This list is strictly for his action movies and none of his dramatic features are included such as the avante garde dramatic classic, DEAD END (1969). Considering its place in the pantheon of Asian cinema, I included THE BLOOD BROTHERS (1973) as an addendum and not in this list. It is possibly his most revered picture, but it's not a favorite of mine, but I respect its place in his long career of classic movies.

Wang Yu makes himself a star as well as make HK movie history

1. THE ONE ARMED SWORDSMAN (1967)

A vitally important film in the annals of martial arts cinema and action cinema period. It ushered in a new style of cinematic violence that hadn't been seen before and would soon morph into something far more extreme than what is seen here. Chang Cheh found ways to continuously outdo himself in the ways in which he would have his heroes perish, or be injured. ONE ARMED SWORDSMAN was a benchmark by which hundreds more followed. The filmmaking is of a caliber that recalls a western style, but mixed with an Eastern flavor, both of China and Japan. Jimmy Wang Yu became a huge star after the release of this film.

Wang Yu causes extreme casualties in order to kill his target

2. THE ASSASSIN (1967)
Chang Cheh takes a slightly different route this time out focusing more attention on character development and even giving lots of screen time to the female character played by Chiao Chiao. Many have criticized Cheh over his lack of women roles, or focus on the fairer sex, but here, he gives the ladies a rare chance to shine in a non action format, but no less dramatic way. Possibly Chang Cheh's best achievement, the film is loosely based on a real historical occurrence found in the 'Biography of Assassins'. Unexpectedly, despite being on the talky side, the film was a huge hit. Most fans craving non stop blood and gore will be disappointed, but those who are attracted to storyline and characterization will find a lot to chew on here.

David Chiang about to take his VENGEANCE!

3. VENGEANCE! (1969/released 1970)

Cheh's bloody tale of revenge earned himself a Best Director award at the 16th Asian Film Festival in 1970. David Chiang also too the Best Actor award. This picture is told with a Western sensibility and is a basic plot of a younger brother taking revenge for the unjust murder of his elder sibling at the hands of some gangsters working within an Opera troupe. This was Chang's attempt at transposing the period swordplay genre into a more modern setting. He would revisit the modern setting a handful of times. Famed HK director, John Woo was an assistant director here and it's obvious after watching this film, that Chang was extremely influential on John Woo. The film, strangely enough, wasn't that huge of a success in HK.

The calm before the storm; the heroes celebrate a victory

4. THE HEROIC ONES (1970)

One of several 'Cast of Thousands' films Chang Cheh spearheaded between 1970 and 1975. Shakespearean in execution and ambitious in scope, this bombastic Wuxia tragedy is bolstered by some highly impressive and massive battle sequences from ace choreographers, Liu Chia Liang, his brother, Liu Chia Yung and the Liu's longtime associate, Tang Chia. Chang's barbarian epic is told in true 'Triumph & Tragedy' style relating inner turmoil within a family of near invincible proportions. Jealousy, greed and eventual murder lead to a typically somber, yet bloodily heroic finish in one of Cheh's most famous swordplay films. One of the films aka's, 13 SONS OF THE YELLOW DRAGON, perfectly encapsulates the main thrust of the plot.

Chen Kuan Tai delivers a killing blow to Ku Feng

5. THE BOXER FROM SHANTUNG (1972)

This hugely successful and extremely violent gangster epic started a whirlwind of similar movies involving Triad organizations and the bloody conflicts that ensue. Chen Kuan Tai became a household name overnight and a sequel was quickly put into production. Based on the exploits of real life hero, Ma Yung Chen. It's one of the most unusual martial arts actioners in that characterization is paramount over the action. But when the action comes, the blood flies freely and the gore drenched finale rewards the viewer with one of the most brutally violent action sequences you are ever likely to see. John Woo again performs assistant director duties on this picture. A remake followed in 1996 directed by Cory Yuen Kwei. It was the first Shaw Brothers picture in over a decade.

Shaolin heroes are shocked at the death of one of their top fighters

6. SHAOLIN MARTIAL ARTS (1974)

One of Chang Cheh's Shaolin Cycle of movies began in 1973 with the production of FIVE SHAOLIN MASTERS. The first of these movies to see release, however, was HEROES TWO (1973). SHAOLIN MARTIAL ARTS is possibly the most focused of all the films in the cycle. The characters are all very well drawn and all possess their own quirks and mannerisms, there are abundant training sequences and both protagonists get love interests. The choreography by Liu Chia Liang is stunning and the musical cues used fit the film pefectly. This was the first film to feature the teacher/student dynamic that would blossom with the release of SNAKE IN THE EAGLE'S SHADOW in 1978.

The charismatic and mischievous Alexander Fu Sheng

7. DISCIPLES OF SHAOLIN (1975)

Alexander Fu Sheng's finest performance, the plot line of BOXER FROM SHANTUNG is recycled with some minor changes resulting in Cheh's biggest HK hit ever. This film contains some choice fighting scenes perfectly capturing the raw power of Cheh's adrenaline charged heroes. One of the directors most poignant and emotional productions, the film also marks one of the last movies in which Liu Chia Liang handled the action design before leaving Chang's group and embarking on his own directorial career. Although it's part of Cheh's Shaolin Cycle, it isn't about Shaolin at all aside from the styles used and the ongoing battle between Ming and Qing. Fu Sheng was always good, but he was seldom this great.

The Five Venoms of the Poison Clan

8. FIVE VENOMS (1978)

The inaugural film that introduced the world to the acrobatic and weapons laden combat style of the group that came to be known in fan circles as the Venoms. This first film is curious in that it is mostly a suspense thriller with fighting thrown in amongst scenes of torture and agonizing death. Even though the fight choreography is cumbersome and unoriginal, the films plotline more than makes up for this. The idea behind the Poison Clan is a novel one and this definitely lends itself one of the most comic book appearances of the directors later film work. A hugely influential movie, it was a success in Hong Kong, and one of the most fondly remembered kung fu movies of all time.

Left to right: Chiang Sheng, Sun Chien and Lu Feng

9. INVINCIBLE SHAOLIN (1978)

All six of the original actors from the classic FIVE VENOMS (1978) take part in this great film featuring lots of training and top class choreography. One of the most unusual kung fu films in that all of the participants are good guys and the predicament that leads to their confrontation is all a set up by a Manchu General. It's also a rare lead role for Sun Chien, the kicker of the group. The ending battle is a classic example of Chang Cheh machismo featuring the usual creatively bloody violence.

Tou Tin Toh (Chen Kuan Tai) inspects his crippled (Lu Feng) sons new iron hands. These metal appendages conceal hidden weapons.

10. CRIPPLED AVENGERS (1978)

Another comic book come to brutal life. The director along with mega prolific scriptwriter, Ni Kuang (I Kuang) fashion a grand guinol kung fu spectacle where hapless individuals get their eyes gouged out, limbs strewn from their bodies and a swordsman is turned into a mental midget while the villainous audience enjoys a meal with their entertainment. Certainly one of the best and most beloved kung fu pictures. Characterization is on point as both hero and villain are designed meticulously creating memorable protagonists and antagonists. The end fight gets a little too Barnum & Baily at times (during the Kuo Chui, Chiang Sheng & Lu Feng fight), but it's still a sight to behold and the film contains many extraordinary characters and inventive fights.

Kao Chin Chuen (Lu Feng) & company pursue their quarrey, Hung Si Kuan.

11. SHAOLIN RESCUERS (1979)

While many of Chang Cheh's later output was done on a much smaller scale and imbued with a totally comic book approach, these later movies have an extreme following with kung fu fans. Whereas many of the Venom movies were recycled ideas of his past glories, this film contains themes present in Cheh's lively 'Revolution Era Spaghetti Eastern', THE ANONYMOUS HEROES (1971). The Venoms get plenty of screen time and show lots of charisma especially Lu Feng as historical Chinese traitor, Kao Chin Chuen. Feng is like a Terminator here showing no emotion mowing down various Shaolin fighters along with his crew in an attempt to eradicate one of the most famous historical heroes, Hung Si Kwan. With all the great rapport with the principle actors, the final 20 minute battle is one of the best ever captured on screen featuring all manner of hand to hand and weapons combat.

The blood drinking masked gang herald the crowning of their new chief

12. MASKED AVENGERS (1981)

The directors revamping of his own seminal FIVE VENOMS (1978) sees a brutally dark superhero murder mystery dealing with a vicious blood drinking gang of masked killers that slay for profit. A showcase for Kuo Chui, the fight scenes, most particularly the finale, are incredibly innovative. One of Cheh's best of his later efforts, the film was ignored during its initial release. The set design is suitably dark and imaginative particularly the desecrated and booby trapped temple that unveils numerous deadly snares with which to bloodily do in the heroes. This was near the end of the directors tenure with Shaw Brothers, but it was one of a few underrated bright spots before he and the studio parted ways.

The amazing finale of 5 ELEMENT NINJAS

13. FIVE ELEMENT NINJAS (1982)

Chang Cheh's next to last Shaw production is his most lavishly outrageous, creatively gruesome martial world epic he would ever helm. Pushing the envelope in terms of comic book nihilism, this picture totally defies you to take it seriously and therein lies the fun of it all. As close to a bonafide superhero movie as the director would ever get, it contains some of the wildest and ingenious weaponry you are ever likely to see. Much of these are based on historical Japanese armaments. It's pure R rated cartoonish brilliance loaded down with bloody violence. The choreography is incredible and the work of two of the best underrated martial arts performers, Ricky Cheng Tien Chi and Chu Ko. Sadly, neither actor ever garnered much success despite being superb acrobats and showcasing a lot of power on screen.


ADDENDUM:


THE BLOOD BROTHERS (1973)

It would be difficult to compile a 'best of' list without the inclusion of this film. It nonetheless deserves mention. It's not technically an action film, but it has a bit of action in it. It's more of a dramatic piece concerning a circle of friends (David Chiang, Ti Lung and Chen Kuan Tai) who slowly crumble because of the wiles and charms of a woman and the tragedy that results from this relationship. Based on a true case from the Qing (Manchu) Dynasty, it is widely considered one of Chang Cheh's greatest pictures. The film was adapted to the screen in a far more exploitation fashion by director, Pao Hsiueh Li, another acolyte of Chang's, in the gruesome and salacious action production of OATH OF DEATH (aka THE ARROW & THE HEART). Ti Lung won the Best Actor award at both the 19th Asian Film Awards and the 11th Golden Horse awards for his performance as the ambitious ruler to be in THE BLOOD BROTHERS.

CONTINUED IN PART TWO