| Sheng Chiang | ... | Yang Tieh | |
| Philip Kwok | ... | He Yuan-xin, Gecko / Lizard (as Kuo Chui) | |
| Feng Lu | ... | Zhang Yiao-tian, Centipede | |
| Pai Wei | ... | Qi Dong, Snake | |
| Chien Sun | ... | Ma Chow, Scorpion | |
| Meng Lo | ... | Liang Shen, Toad | |
| Lung Wei Wang | ... | Judge | |
| Feng Ku | ... | Yuen | |
| Shu Pei Sun | |||
| Huang-hsi Liu | |||
| Lao Shen | |||
| Hui Huang Lin | |||
| Ching Ho Wang | |||
| Han Chen Wang | |||
| rest of cast listed alphabetically: | |||
| Szu-ying Chien | |||
| You-hsing Lai | |||
| Fai Wong Lam | |||
| Tung Ting | |||
| Dick Wei | ... | Master (as Tu Lung) | |
Directed by | |||
| Cheh Chang | |||
Writing credits(in alphabetical order) | ||
| Cheh Chang | writer | |
| Kuang Ni | writer | |
Produced by | |||
| Mona Fong | .... | producer | |
| Run Run Shaw | .... | producer | |
Original Music by | |||
| Yung-Yu Chen | (as Chen Yung Yu) | ||
Cinematography by | |||
| Kung Mo To | |||
| Hui-chi Tsao | |||
Film Editing by | |||
| Hsing-lung Chiang | |||
Art Direction by | |||
| Johnson Tsao | |||
Costume Design by | |||
| Lia Chi Yu | |||
Makeup Department | |||
| Hsu-Ching Wu | .... | makeup artist | |
Second Unit Director or Assistant Director | |||
| Chao Kang Sheng | .... | assistant director | |
| Chen Yu Wen | .... | assistant director | |
Art Department | |||
| Ping Wei Liu | .... | props | |
| Li Wu | .... | props | |
Stunts | |||
| Ting Leung | .... | fight director (as Liang Ting) | |
Camera and Electrical Department | |||
| Fen Chen | .... | lighting technician | |
| Ying-Chuan Kuan | .... | lighting technician (as Kuan Ying Chaun) | |
Other crew | |||
| Robert Tai | .... | action director | |
| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Action section | IMDb Hong Kong section |
Most 70s (and 80s) Kong Kong martial arts films barely function as movies; usually there are a few well-planned fight sequences, but the plot is scraped pretty thin to fill in the gaps between those nodes -- like porno films, really.
But this one does several things well. Most overtly, there is the direction and choreography, which confines each combatant to a 'style' -- it's really based on Chinese circus acrobatics and comedic theater, but the effect works.
Second, there is the language of the camera, which uses some impressive techniques(even by today's measure), changing projection speeds from real time time to slow motion, and from unfiltered to filtered views to depict story direction toward the past or toward the future.
Least overt, but most powerful and unexpected, is the construction. The winner of this contest is determined by who 'unfolds' the story. The master (the writer) sets up a game where the lead character doesn't know who he's seeking, which is the same situation we viewers find ourselves in. One by one, he figures out who is who, at the same rate we find out who is who. It all follows a tragedy/noir arc. The ending tends toward irony, a la "The Sting". Much more clever stuff than what we usually get out of this genre.
The 'five venoms' idea is the template for Tarantino's 'deadly viper assassins' from the "Kill Bill" volumes.