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Shao Lin mu ren xiang (1976)
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Overview
User Rating:
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Director:
Release Date:
10 November 1976 (Hong Kong)
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Plot:
Jackie witnesses his father's death by the skilled hands of a martial arts master with an unknown killing technique...
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Plot Keywords:
Shaolin
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Shaolin Monk
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Buddhist
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Martial Arts
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Kung Fu
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User Reviews:
heavy handed but not unwatchable
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Cast
 | Jackie Chan | ||
 | Kam Chiang | ||
| Jang Lee Hwang | ... | Monk in opening sequence / Extra |
| Kong Kim | ||
| Yuen Lung | ||
| Tien Miao | ||
| Wei Ho Tu | (as Her Du Wei) | |
| Biao Yuen |
Directed by | |||
| Chi-Hwa Chen | |||
Produced by | |||
| Wei Lo | .... | producer | |
Other crew | |||
| Jackie Chan | .... | action director | |
| Ming Chin | .... | action director (as Tommy Lee) | |
| Biao Yuen | .... | double: martial arts and acrobatics | |
Distributors
- Metropolitan Filmexport (1983) (France) (theatrical)
- All Seasons Entertainment (1987) (USA) (VHS)
Additional Details
Also Known As:
"Shaolin Wooden Men" - Hong Kong (English title)
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Parents Guide:
Runtime:
USA:98 min | UK:106 min
Country:
Language:
Color:
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Certification:
Australia:M | UK:15 | Germany:12 (re-rating) (uncut) | West Germany:16 (original rating) (cut) | Germany:16 (VHS rating)
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Trivia:
An alternative ending was shot for Taiwan. In this ending Jackie forgave the murderer for killing his father.See more »
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Message Boards
Discuss this movie with other users on IMDb message board for Shao Lin mu ren xiang (1976)| Recent Posts (updated daily) | User |
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| Best old school kung fu movie | dshelly |
| most redicilious old school kung fu scenes | cloudhands_1 |
Recommendations
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| Shaolin Temple 2: Kids from Shaolin | Shaolin Temple 3: Martial Arts of Shaolin | The King of the Kickboxers | The 36th Chamber of Shaolin | The Shaolin Temple |
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| IMDb Action section | IMDb Hong Kong section |
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Okay early Chan starring vehicles; very heavy handed, with little humor; a lot of training sequences, more than usual for the genre at this time - these are more realistic than similar training episodes of the period, but they lack of any inherent interest, perhaps for that very reason. The fight scenes are well-choreographed, largely because Chan is clearly choreographing himself. The actual 'wooden men' sequence is unconvincing; this particular legend was best presented by Joseph Kuo in "The 18 Bronzemen," where Kuo presents the Bronzemen as men in bronze paint, rather than the robots or spirit-possessed statues of other films. Here they are rather ungainly robots, and not very threatening, to be honest.
The big plus of the film is the relationship between Chan and his teacher, who is also the lead villain - that double identity gives the film its real weight, and the resolution of this relationship in the final fight is almost carried off - enough so to leave the fan of such films of its era satisfied.