IMDb > Last Hurrah for Chivalry (1979)

Last Hurrah for Chivalry (1979) More at IMDbPro »Hao xia (original title)

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Last Hurrah for Chivalry -- Last Hurrah for Chivalry is follows two killers for hire. The two assassins are master swordsmen with no allegiance, deciding to help out a local merchant seeking revenge against a kung-fu master. Multiple twists of deception, brings uncertain trust.
Last Hurrah for Chivalry -- Theatrical Preview


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Release Date:
22 November 1979 (Hong Kong) See more »
A son tries to avenge his father, and gets two sword fighters to help him. | Add synopsis »
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(2 articles)
30 Amazing Wu Xia Movies To Enjoy
 (From AsianMoviePulse. 14 October 2015, 4:49 PM, PDT)

The Raymond Chow And Golden Harvest Era (Part 1)
 (From AsianMoviePulse. 3 June 2015, 3:59 AM, PDT)

User Reviews:
It's swordplay not gunplay in this early John Woo film See more (12 total) »


  (in credits order)

Directed by
John Woo 
Writing credits
John Woo 

Produced by
Raymond Chow .... producer
Original Music by
Frankie Chan  (as Chen Hsun-Chi)
Cinematography by
Yiu-Tsou Cheung 
Tsin Yu 
Film Editing by
Peter Cheung 
Costume Design by
Kuan-Kai Kong 
Second Unit Director or Assistant Director
Ching Po Chang .... assistant director
Sound Department
Kwok-Man Chan .... sound effects editor
Chiao Chiao .... dialogue editor
Shao Lung Chou .... sound recordist
Shing-Sum Kwok .... dialogue editor

Production CompaniesDistributors

Additional Details

Also Known As:
"Hao xia" - Hong Kong (original title)
See more »
106 min
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:

Did You Know?

Movie Connections:
Featured in Chop Socky: Cinema Hong Kong (2003) (TV)See more »


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10 out of 11 people found the following review useful.
It's swordplay not gunplay in this early John Woo film, 30 April 2001
Author: Brian Camp from Bronx, NY

LAST HURRAH FOR CHIVALRY is an early film (1978) by John Woo, who is better known for his Hong Kong crime thrillers (THE KILLER, HARD-BOILED) and Hollywood hits (FACE/OFF, MI2). It's a costume swordplay film from Golden Harvest and it looks very different from similar films then being done at the rival Shaw Bros. studio. Even then, Woo was displaying a directorial talent that set him apart from the Shaw Bros. directors (as good as some of them were). The photography and editing here display a cinematic gloss comparable to the Japanese samurai films of the time. However, the martial arts are not as pure as in the Shaw Bros. films and the 2 lead fighters are generally not as skilled as the top-ranked members of the Shaw repertory company (e.g. Gordon Liu, Fu Sheng, the 5 Venoms).

Even so, the fight scenes are consistently exciting and are sprinkled throughout a well-developed storyline with a set of intriguing characters. It's all about the budding friendship between fighters Cheng San (Wei Pai, a sometime Shaw star) and Green Suit (Damian Lau) and the path to their impending battle with villain Pai Kang (Lee Hoi San), and their ultimate betrayal by the mutual friend who had manipulated them into battle. It looks forward to Woo's A BETTER TOMORROW and BULLET IN THE HEAD each of which featured a trio of male buddies, one of whom betrays the other two for personal gain. Fans of Woo's later work (and fans of swordplay movies) will find this film a rewarding experience.

ADDENDUM (7/23/14): I watched this again, on the Dragon Dynasty DVD edition, for the first time in many years and was newly impressed with the fight choreography. It was much more sophisticated than I gave it credit for above and I'm sorry I was mildly dismissive of the lead actors' capabilities. This film also compares quite favorably with the Shaw Bros. swordplay adventures of the 1970s, of which I've seen many more since doing the original review. I was also remiss in not singling out the great kung fu villains in this piece, particularly those played by Fung Hak On and Lee Hoi San. Their work is breathtaking. And I should also highlight the film's original music score, distinguished by a theme melody taken from its title song and deployed effectively in different variations throughout the film. This is in contrast to the standard practice of so many kung fu films from that era in using library cues and bits taken from other soundtracks. And I stand by my remark about the "cinematic gloss" that sets this film apart. Woo's confidence as a filmmaker is quite noticeable here and brings an aesthetic element to the material that wasn't common in the genre at the time.

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