The Eunuch of the Emperor has ordered the commander of his army condemned to death for betrayal and insurrection. The commander's family was was murdered to cut off his bloodline, but his ... See full summary »
When a scroll containing valuable martial arts secrets is stolen from the Emperor, an army detachment is sent to recover it. Blademaster, a young martial arts expert, accidentally ends up ... See full summary »
With an entirely new set of actors, this movie continues the story from Swordsman (1990). Blademaster and his martial arts school decide to retire to a distant mountain. Before leaving, he ... See full summary »
According to the director, Jackie Chan acted as an extra and he requested for more work as he need the money. King Hu found him cute and hardworking but hide his face away from the camera so that he could work more times, repeatedly as a killed pirate. See more »
Late in the 70's Kung Fu cycle, director King Hu shows how to direct classic Wu Xia. This swordplay film focuses mainly on action. The setup is minimal, characters are barely introduced, if at all. No story, little exposition, no romance. Just a series of scenes where the heroes, always outnumbered, cleverly draw the pirates into traps, and then fight them. Hu is mostly interested in the tactics and cunning. His direction of the action scenes is exemplary and a joy to watch: dynamic movement, jump cuts, fast camera movements, quick strokes, rhythmic dancelike movements. The fight choreography is presented more like the films of the 60's, emphasizing rhythm and movement over clarity. This is not the movie to watch if you want to study different fighting styles. The most exemplary scene is the last one, which features a duel between Ying Bai and Sammo Hung. It does not matter that Sammo is a much better martial artist, the scene is so dynamic, cut with quick strokes at the fast rhythm of clanging swords, that the viewer cannot observe for even a short moment what each fighter is doing, but gets taken instead by the sheer momentum and mayhem. Only in the 80's did Tsui Hark and Honk Kong Cinema pick up where King Hu had pioneered.
The performers are charismatic, in particular Ying Bai as the cool hero (very 60's in style), and the lovely Feng Hsu as the cool, silent but deadly wife. She is such a striking presence in this film, that it is not surprising that King Hu featured her in practically all his movies during this period. Sammo Hung is appropriately menacing as the head Japanese pirate and was responsible for the fight choreography. The landscapes (possibly Taiwan) are impressively and beautifully filmed, creating great settings for the action scenes and adding to the pure enjoyment of watching this well orchestrated and graceful film.
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