THE SWORDSMAN OF ALL SWORDSMEN is another Taiwanese wuxia story influenced by the likes of DRAGON INN. This is one of the earlier films directed by Joseph Kuo who would come to dominate the kung fu genre in later years with films such as 18 BRONZEMEN and the like. As ever, the story is strong although let down by a so-so execution clearly struggling with budgetary constraints.
Popular star Tien Peng plays the titular character, an expert swordsman who wanders the countryside on a mission of revenge. As is so often the way in these movies, his parents were slaughtered while he was still a child, which means he now has a vendetta against the killer or killers responsible. At one point, Peng forms a close relationship with female fighter Polly Shang Kwan who plays a character called Swallow, but it transpires that the two may be set on a collision course by further twists of the plot.
As is usual with Taiwanese productions, THE SWORDSMAN OF ALL SWORDSMEN utilises real-life locations as Shaw-style sets would have been too expensive to produce on their limited budgets. However, the outdoor locations are frequently beautiful to behold and give the film a fresh feel. The action is plentiful and relatively bloody for its time, although the choreography is lacking a bit. Things culminate in a fantastically-shot final duel on a beach which is the highlight of the production and indeed of Kuo's entire career - it's a masterful scene.
Popular star Tien Peng plays the titular character, an expert swordsman who wanders the countryside on a mission of revenge. As is so often the way in these movies, his parents were slaughtered while he was still a child, which means he now has a vendetta against the killer or killers responsible. At one point, Peng forms a close relationship with female fighter Polly Shang Kwan who plays a character called Swallow, but it transpires that the two may be set on a collision course by further twists of the plot.
As is usual with Taiwanese productions, THE SWORDSMAN OF ALL SWORDSMEN utilises real-life locations as Shaw-style sets would have been too expensive to produce on their limited budgets. However, the outdoor locations are frequently beautiful to behold and give the film a fresh feel. The action is plentiful and relatively bloody for its time, although the choreography is lacking a bit. Things culminate in a fantastically-shot final duel on a beach which is the highlight of the production and indeed of Kuo's entire career - it's a masterful scene.