Director Yuen Woo Ping gathered his family together to make The Miracle Fighters---a combination of kung fu, magic, and slapstick comedy. While it was fun to watch the Yuens and Bryan “Beardy” Leung, the story was a bit of a mess and dragged badly in the middle.

Kao Hsiung’s wife is killed because of their mixed marriage-a Han and a Manchu. In order to escape execution and a dangerous sorcerer, he takes the royal son as hostage. When the boy is inadvertently killed, Kao is distraught. He later takes in an orphan named Shu Gut and raises him. The royal sorcerer eventually catches up with Kao and hopes to use the now grown boy to impersonate the prince. Things don’t go to plan for anyone and Shu finds himself with two old sorcerers. The Old Man and the Old Woman have few peers with magic, but bicker constantly even resorting to dividing their property with painted red rocks. They agree to train Shu so that he can defeat the evil sorcerer and be free from his threat.

Yuen Yat Choh had spent most of his career in bit parts. He was adequate in the role of Shu Gat but he was a better fighter than actor. Yuen Cheung Yan was funny in his role of the Old Woman who could fight and make you see double. Yuen Shun Yee as Sorcerer Bat provided the menacing force needed to give the story some movement. At the sorcerers’ altar, Woo Ping honored the late Yuen patriarch Simon Yuen, with a large painting of him from his role in Drunken Master. Bryan Leung made for a spry Old Man with more than a few tricks up his sleeves.

The fights mixed with magic were cuckoo crazy and everyone of the Yuens and Leung could be counted on to do their part to sell the moves. Shu had to not only fight other sorcerers but also a giant wooden stick man that looked straight out of Angry Birds. The problem was when no one was fighting. The slapstick shenanigans wore thin quickly for me. It was like they knew where they wanted the story to end up, with a magic free-for-all, but didn’t create a compelling, coherent story to get there. At 100 minutes, the movie ran ten minutes longer than many other kung fu flicks and those extra ten minutes of bickering sorcerers was not spellbinding. If you enjoy slapstick kung fu and want to know if you should watch this, my Magic 8 Ball says, “without a doubt”. If you don’t care for slapstick and long sequences between action bother you, *shake, shake*, the magic ball reads, “my sources say no” or at best, “reply hazy, try again later.” The Miracle Fighters had entertaining parts to it, especially when the Yuens leaned into their strengths. I only wished they had done more of what they do best because more miraculous fists and kicks would have done the trick.

10/14/23

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Love with a hopping vampire!

When hopping vampires come to town, who are you going to call? Vampire Cleanup Department! This Hong Kong production starred several older actors from the golden era of fists and kicks kung fu movies as well as two younger actors. The film had a few gruesome scenes but overall was a more lighthearted romance and coming of age vampire wrangler story.

Tim witnesses a vampire attack and after being bitten by a vampire and not transforming is recruited by the Vampire Cleanup Department. On a mission outside of town he accidentally transforms a gruesome water vampire back into her original form. Summer, the young vampire woman looks normal but is unable to talk except with the help of his phone which she had swallowed and hops like the rest of the vampires. He’s tasked with cremating her back at headquarters but instead hides her nearby. From there the story becomes about him training her to be more human. At the VCD, faster than you can say “wax on, wax off!”, Tim has learned kung fu from repeatedly sweeping the floors. He runs afoul of his trainers when he wants to help the vampires instead of killing them. A competing agency causes problems for the cleanup department when they steal Summer and attempt to lure her maker, a devilishly dangerous landlord vampire, so that they can capture him for research.

I was thrilled to see Toad Venom Lo Meng as one of the fight trainers who also loved plants. Yuen Chueng Yan played the priest who provided the amulets. Aside from acting Yuen spent much of his career as a martial arts director for numerous films. Chin Siu Ho as the trainer who was toughest on Tim, started his martial arts training at the age of 10. These three alone made my geeky martial arts loving heart tremble. Richard Ng played the director in charge of tech support and cremation. Babyjohn did a good job as the naïve, bumbling, vampire cleanup trainee who falls in love with a partially transformed hopping vampire. Lin Min Chen gave Summer a kind quality as she hopped about and learned more human traits, but wasn’t asked to stretch much acting-wise.

The quality of the CGI, vampires, and fights weren’t bad for this genre of film. Thankfully, the humor wasn’t overly slapstick. Though at 90 minutes the movie tried to do too many things leaving many issues resolved thinly or not at all. Vampire Cleanup Department wasn’t a blockbuster type movie, just a nice little Hong Kong hopping vampire story with a surprisingly heartfelt center to it.

10/12/23

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"Truth and falsity mix in this world"

Taoist Master: Kylin was a sequel in the telling of Zhang Dao Ling’s story, the founder of the Way of the Celestial Masters sect of Taoism. In this direct to video film Zhang was not only searching for the root of the Tao, but also the mountain god credited with scaring two hunters to death.

The cinematography of the mountains and river where the story takes place was lovely. Disappointingly, the story lacked the same care. Zhang and his disciple Wang come to Mount Yun Jing during their travels. Two men were found dead on the mystical mountain. Determining they were scared to death, Zhang promises the mother of one of the men that he will find what killed them. From there he meets a corrupt official, the Drug Master and his crew, the Elder, a man driven insane by the mountain god, and a strangely wise beggar. Zhang Dao Ling sets to discovering the secrets of the mountain and the Tao.

Taoist Master felt more like a very special episode of Scooby Doo about the dangers of magic mushrooms. Aside from Louis Fan’s ZDL, few of the other characters were memorable. There were a couple of fights but they were ruined by slow motion and stop motion shots, or overcranked shots, and way too close of close-ups. What could have proved to be an interesting fantasy tale was brought crashing down to earth in Scooby Doo fashion. The villagers at one point all but said, "meddling kids/priest!" Full disclosure, I love spiritual dramas whether they are about my faith or not. I’m fascinated by early pioneers who walked the earth or sat on mountaintops or meditated under a tree and would have relished this short film if it had been more about Zhang’s spiritual enlightenment. The writers tacked on that element after the underwhelming mystery was solved:

“As long as you have a heart for the Tao, you understand the world.
The mountains and rivers are not under your feet but inside your heart.”

10/11/23

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Puk! Puk! Puk! Puk! Super Chicken!

Before men landed on the moon in real life, people were headed to Mars in The X from Outer Space. The previous missions to Mars had ended in disaster when UFOs from Mars or Venus diverted or destroyed the Earth ships. AAB Gamma aka Astro Boat had strapping Capt. Sano at the helm which meant the aliens didn't know what they were in for or maybe being constantly distracted by two women, he didn't.

Capt. Sano, Lisa, Miyamoto, and Dr. Shioda begin their mission successfully until the apple pie shaped UFO appears and AAB Gamma barely makes it to the moon base intact. Michiko works at the moon base and is in love with Sano as is the buxom blonde bio scientist, Lisa. Shioda is suffering from space sickness and is replaced by a continually complaining Dr. Stein. Back into space the intrepid team goes but are stalled when strange luminescent pods become attached to the ship. Lisa and Sano collect a sample and dislodge the rest. Back at home the sample appears to have been stolen from the lab. The crew finds chicken-like prints leading to a hole in the floor. Before the team can have a nightcap, a giant monster appears crushing buildings and blowing things up. The chicken-like monster is named Guilala. They need a secret weapon to destroy it---Guilalanium! Guilalanium will prevent the monster from absorbing energy. But first the team has to return to the moon base, make more guilalanium, avoid the UFO and arrive back at the Astro Development Center before Guilala destroys Japan. No problem for this super crew if they can get everyone to stop lusting after Sano.

The miniatures and space craft were comparable to movies of this genre during the 1960's. The buildings were better than some of Godzilla's cardboard downtowns. Where the movie failed was the monster, it didn't hold up against Toho's guys in rubber suits productions. The acting was average but not the worst for a monster movie. Lisa and Michiko spent a lot of time mooning over Sano. The space jaunts eventually amounted to nothing, they never reached Mars nor made actual contact with the aliens. All they managed to do was bring back the lethal Guilala spore and set it loose. It took an hour before the monster showed up to relieve us of the lackluster love triangle and useless space trips.

This was not a classic Kaiju film though it does have a cult following. You could put it in the so bad it's fun category if you don't look too closely at it, especially the hilariously bad alien chicken. Although I'd take the super chicken over the tepid love triangle any day.

10/3/23

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Ghost Sweepers aka Fortune Tellers was a frenetic mish-mash of half told stories and back stories labeled as a ghost comedy. Whether you find it funny will depend on how much you enjoy slapstick hammy humor and acting. It looked extremely low budget and low tech and hasn't aged well.

A wealthy woman who wants to develop a small seaside town invites 50 shamans to rid the place of a malevolent ghost who has killed 87 people over the last 50 years. Once the shamans arrive, they are attacked by a vicious spirit and most hightail it out of town. The five remaining shamans include---a scientific ghost buster, a young woman who can see the past, a small boy who can see the future, a Buddhist monk who can see the spiritual world with his mystical eye, and a shady shaman who uses his abilities to become rich. Along for the ride is a reporter in trouble with her boss whose father died in the town years ago. The local fishermen work for the ghost, a ghost who is protecting a Japanese treasure on the sea floor.

The movie started out promising by introducing the characters and their abilities. Unfortunately, the female shaman and the school age boy had little to do in the movie and they had potential. One of the five was cut down early, which was too bad, he was one of the most interesting of the characters. In their throw everything at the wall and see if it sticks mode, the story included an estranged father and son. One of the problems being that in real life the actors were only 14 years apart. A father and daughter separated by a mysterious death had a couple of side stories. None of the "emotional" backstories were delved into but took up time in a too long movie. The biggest problem I had with the movie was the female lead. Kang Ye Won overacted and the character was written as illogical, childish, and annoying. She and the shady shaman were given the lion's share of the screen time along with the ghost buster. I enjoy Lee Je Hoon's acting but his character felt underdeveloped.

No part of the movie was polished-the story, acting, or CGI. At times it almost felt like a high school play where they were making up it up as they went along. There were parts of it that were entertaining and if a competent enough hand could have brought the circus under control it could have been quite a good little ghost movie. As it was, I struggled to finish it little caring who made it out alive, which I'm sure the little boy could have foretold if he had been given enough screen time.

10/2/23

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"It takes time to get used to things"

Chungking Express is more a mood than a story, more style than substance but an entertaining and colorful watch. Lonely and heartbroken people brush up to the edge of madness as they look for love or try to reclaim it. Lives touch briefly with unexpected outcomes.

In the first short story, Officer #223 is attempting to win back his girlfriend May, unable to move on. Most evenings he hangs out at the snack bar using the pay phone to try and get in touch with her through relatives and friends. Each day he purchases a can of pineapple with the expiration date of May 1, coincidentally his birthday, and vows after eating thirty of them if she hasn't come back, he will move on. His love lines cross paths with Brigitte Lin's Blonde Wig Woman who is a drug dealer and smuggler who has been double-crossed by the trafficking mules she has prepared.

The whole May 1 expiration date bit was too on the nose, feeling more and more contrived as the bit went along. Brigitte Lin in sunglasses, a trench coat and armed with a gun was at least interesting. It took a while to care about a guy who couldn't get over being dumped. Brigitte Lin's drug dealer, who was never given a name, was more compelling. I eventually began to vibe with this strange emotional bump in the night. At least it got #223 to stop talking about pineapples. "Do you like pineapples?" Yeah, that's a player move. I honestly would have loved to see this relationship play out with both people on opposite sides of the law.

My interest perked up with the second story when Tony Leung looking sexy in a police officer uniform entered the scene. Officer #663 was also nursing a broken heart after his flight attendant girlfriend soared away for new sexual adventures. Faye, the new worker at the snack bar took an instant liking to him. When his girlfriend's letter with the apartment keys ends up in her hands, the movie nosedived for me. Using the keys from the envelope, Faye began breaking in to #663's apartment every day-cleaning, buying new bedding and decorations, restocking items, and generally making herself at home. #663 with his keen observation skills carefully honed by his years as a cop never noticed the differences. He had a habit of psychoanalyzing his soap and dish towel and thought the soap was just getting fat because it couldn't move on from his ex.

Maybe it's a male fantasy that an invisible woman will clean, decorate, and restock their apartment like little cookie elves but if the roles were reversed instead of quirky, we'd find it creepy. A male character hanging out all day uninvited sniffing a woman's things and making himself at home would be stalkerish and not romantic. I quickly lost interest in this story. And as much as I love the Mamas and the Papas' "California Dreamin'"after hearing it for nearly 45 minutes, I'm not going to want to hear it for another decade.

The frozen action overlaid with sped up action, swirly camera action and stop motion running was a director's creativity on overload especially when dazzling colorful lights joined the artistic fray. As I said, this was all about the mood. Different people will see this film through their own expectations. Character development and story resolution were beside the point. How did it make you feel watching the lonely people connecting amid the kaleidoscope of lights?

Rather than being romantic, the stories showed just how desperate some people are for companionship and will latch onto the first person who pays any attention to them. With the exception of maybe the drug dealer, the rest of the characters seemed to being hanging onto their sanity by a thread. Were they lonely because their behavior ran people off or were they behaving strangely because they were lonely? Chungking Express was visually impressive, the narrative-not so much.

9/29/23

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Angel Terminators was a dark entry in the Girls with Guns genre. With the exception of Kenneth Tsang's Big Bad, the predominant cast members were all women---Sharon Yeung, Kara Hui, Carrie Ng, Nishiwaki Michiko, and Cheng Yuen Man. There was plenty of action and misogyny to go around. Not as coherent as Michelle Yeoh's 'Yes Madam' it still had enough kung fu and gun play to satisfy people who enjoy the genre.

The film started out clumsily with a car chase and gun fire. Ida and Hon seem to always be in the neighborhood when super cops are needed to bring down bad guys, including a kindergarten being held hostage by jewelry thieves. As Hon is leaving on a plane for Scotland to further her training, Sawada is landing. Sawada has been in Thailand for seven years to avoid being arrested. He has come to town to reclaim his drug and criminal territory. Ida's snitch, a prostitute named May, feeds her intel about Sawada's huge drug deal going down. The cops arrive and a ferocious shootout ensues. Sawada has a mole in the police department who helps him set up an ambush for Ida in retaliation for her interfering in his business. The mole is a gambler who happens to be married to Carrie, Sawada's former lover. Before long Ida and Carrie are in dire trouble when they find themselves in the frightening clutches of Nishiwaki.

Firearm acuity was not the movie's strong point. The opening shootout showed shooters trying to push the bullets out of their guns or closing their eyes when shooting. Another time when the police had the high ground and the bad guys surrounded they still managed to miss most of the baddies. Sharon could hold her own in the fists and kicks fight department and make the moves believable even when they defied gravity. Ida could have beaten the Olympic pole vault record by about twenty feet. With kung fu veterans like Alan Chui Chung San and Dick Wei, Sharon always had an accomplished opponent to spar with. Jacky Chen designed several creative fights though I don't envy the stuntmen who took some hard falls. The Hong Kong police department in the movie was going to need a hiring push after a significant portion of its police officers were mowed down.

This film would have been more entertaining if they'd left the Very Special Episode about Drug Abuse out of the middle section. I also deducted points for a scene where Sawada urinated all over Carrie, the woman he supposedly loved. It was disgusting and unnecessary. When the film focused on Sharon and Kara, either their friendship or when they fought the baddies together it was at its strongest. The two women had nice chemistry together and I fail to understand why they split them up for much of the movie. Angel Terminators kept the action and adrenaline pumped up, never slowing down to let the writer put together a more coherent plotline. The ending was bonkers and baffling. Only for Girls with Guns fans or old kung fu addicts.

9/27/23

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"Something big is behind this!"

In the 1970's sexploitation was rampant and Hanzo the Razor was an excellent example of it. Despite the copious amounts of spewing blood and overall lightheartedness, the underlying theme that rape is okay and something to be enjoyed has aged badly in a world where women now have a say and are able to write critiques.

*Because of the nature of this movie, I use some male anatomical terms*

Hanzo is honorable and incorruptible, a pike in his higher up's sides as he berates them for accepting bribes. After his confrontation over oath taking Hanzo has himself tortured so that he will know how prisoners feel and then pounds his penis with a wooden stick. After that he works it out in a burlap sack filled with raw rice. When he has thoroughly exercised his third leg which had to have been at least 18inches/47cm long, seriously how did he not pass out from all his blood headed south, he stumbles across a clue that Kanbei the Killer has escaped his banishment. He frames Kanbei's lover who is now his boss' mistress for murder and hauls her in for "questioning." Omino is stripped and bound. Hanzo begins his special interrogation of Omino with his Mr. Winky, stopping intermittently so that she will answer questions and beg him to continue. He later questions another woman while she is hanging from a net giving an all new meaning to the term 'whirlibird'. She, like Omino, was sent into the throws of ecstasy from his huge and talented member and told him everything he wanted to know.

The case showed the corruption of the court and magistrate's office, but the case itself was limp. It simply gave Hanzo the opportunity to cause some spewing blood deaths and chances to interview women with his super ding-a-ling. The thing to keep in mind about the women he interrogated is that they hadn't committed any crimes. One might have been harboring a fugitive, but by that time the fugitive was dead. As much as he worked Little Hanzo out, it made me wonder how many women he questioned a week. Did he interrogate male suspects the same way? Kung fu specialists learn to pull their equipment in, but apparently in Japan it's hardened into a weapon.

Hanzo the Razor, yeah I don't think they were talking about his sword, had some humorous moments. But the utter lack of consent and warped view of rape and women overshadowed anything positive about the film. Hanzo was known to be honorable and a man who protected the people. I'm just not sure how honorable rape is.

9/19/23

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Slow, non-linear story, but still engaging

Desert of No Return was a slow paced, non-linear (very non-linear) story about two people in dire financial straits who hooked up one night leading to tragedy. The film felt dragged out by bouncing back and forth in time and telling the story from both main characters' points of view. Soo Eun's story was far more compelling and Ha Yoon Kyung did a superb job bringing her to life.

Tae Shik is a divorced father who lives with his mother and can't make ends meet providing for both households. He collects junk from sellers and illegally from abandoned houses. His ex-wife takes every opportunity to denigrate him as well as people on the street. He goes with a friend to a karaoke bar where girls are provided for companionship. Soo Eun wants to own a nail salon but is short of the cash needed. She is in a loving relationship with a female musician and promised to never sleep with the clients during the "second round." Tae Shik and a reluctant Soo Eun end up in a hotel room which sets a terrible chain of events in motion.

Tae Shik was a man incapable of properly handling adversity or confrontation. If there was any effort to make him sympathetic it did not work with me. The more I discovered about him the less I empathized with him. All I learned from the film was that even ahjussis can be deadly dangerous if provoked or steal from you when your back is turned. Soo Eun made a choice she paid for in multiple ways. Though she worked to be a good human being she lost everything due to a desperate decision. The film bounced not only between the two characters' points of view but also back and forth in time which could be confusing.

Tae Shik's story tried to explain his rage which Jo Sung Ha portrayed well. Ha Yoon Kyung brought out Soo Eun's vulnerable side as well as her fierce side. She was beautiful whether made up or sans free of makeup and gave a lovely performance as the doomed young woman. The music was quietly moving though I disagree with her lover, even musicians have to pay their bills.

I didn't particularly enjoy the first part of the film but found myself engrossed in Soo Eun's romance and story. Many synopses made her out to be a prostitute. I don't think one time brands a woman for life. I felt the ending was unsatisfactory, but that could be because I do like my endings tied up with a bow one way or another. Had the rest of the film felt as complete as Soo Eun's story I would have enjoyed it more.

9/19/23

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Better than a sleeping pill if you have insomnia

The first ten minutes of 36 Crazy Fists showcased Jackie Chan working with the actors in the movie. To be clear, despite many posters and VHS/DVD covers, he was not in the movie. He was the martial arts director and due to contractual issues was not allowed to act in it. He dodged a bullet.

Wong Tai Kwong is befriended by two Shaolin monks when they rescue him during a fight. Turns out his father had been murdered by the gang for not paying protection money. The two monks talk their sifu into training him so that he can have his revenge. Most of the time Wong does chores and only when a passing drunk fights with him does he learn any kung fu. Eventually, he has to fight two thugs from the gang in duels and finally the Big Bad at the end. That's it. There was a lot of "comedic" subterfuge thrown in but the story was thin even by kung fu standards.

Aside from Ku Feng and maybe Chiang Cheng, everyone else was about as interesting as wallpaper paste. Tony Leung Siu Hung would go on to act in Ip Man. He also became a respected martial arts director, including working on Ip Man. But this was not Ip Man. This was not even a bad Jackie Chan movie. The acting was abysmal and the story was as slow and uninteresting as the fights.

But @Butterfly this was a movie with Jackie Chan as the martial arts director so the fights must have been great-right? Wrong. The fights were s-l-o-w. It was either kung fu posing or a bad kung fu dance off. The fights used many of the same poses over and over occasionally throwing in a back flip or two. The funniest bit in the whole movie was when they sped up Ku Feng having a meltdown and it made me wish I could do the same thing. Or that they would speed the whole movie up and let it be a Chipmunk Martial Arts Movie Special. At least if they'd sped the action up, the fights would have been normal speed. People missed their marks and one stuntman literally rolled under a fighter for him to jump over. The fights were painfully bad.

If the fights, story, and acting weren't bad enough, at one point they sent a prostitute into the monk's bedroom to blackmail him into training Wong. For way too long her bare breasts filled the entire screen as she shook them, and shook them, and shook them. I truly cannot think of one thing to recommend this movie. Unless you are on a mission to see anything Jackie was involved in or fancy watching the bouncing boobies, I'd avoid this disaster.

9/15/23

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"I don't have time to die"

When Jimmy Wang Yu jumped off the Shaw Brothers ship, he sailed to Taiwan and made seven films there in 1971. Blood of the Dragon aka The Desperate Chase was one of those films. This film boasted many Taiwanese regulars-Lisa Chiao Chiao, Yi Yuan, Lung Fei, and Miao Tian. The fights, as many were from this time, utilized weapons instead of fists and kicks.

A young beggar is asked by a dying rebel to take a small bamboo container with a SECRET LIST to the prince. Jimmy Wang Yu's White Dragon uses his silver spear to save the boy when Lung Fei and his goons capture him to acquire the list. The White Dragon/Lung Tai and Ni Chiu take the list to the prince but are attacked as the prince is holding a grudge against Lung Tai. The prince uses a trick sword and Lung Tai's ambivalence about fighting the prince to wound the legendary warrior in white. Lung Tai and the boy escape to Lisa Chiao Chiao's restaurant where more bad guys are waiting to attack. After defeating or running off the bad guys all while bleeding copious amount of blood, Lung Tai explains that the hotheaded prince is actually a true patriot and at the top of the Secret List's names of rebels. The prince and Lung Tai make nice before Miao Tian and Yi Yuan bring their forces against the restaurant to retrieve the list.

I know that Wang Yu has been revered by kung fu fans but I've never cared for his acting. He tends to come across as stiff and smug and his fighting sluggish. I was pleased that he was looser in this film and his fighting quicker. Lisa Chiao Chiao didn't have much to do except wring her hands and stand around. You Long as Ni Chiu did a good job and thankfully the kid wasn't written as distractingly annoying as so many were. Miao Tian, Lung Fei, and Yi Yuan had limited scenes but could always be counted on to be properly menacing as the bad guys.

With the exception of one fight most of the fights were one man against several or many. Lung Tai had his silver spear, while the prince had a magic blade, Lung Fei had a chain with a blade covered metal ball, and Yi Yuan had a sword that could transform into a chain and back again. Yi Yuan's general also had the equivalent of throwing stars. The fights ranged from well done to sloppy. When the big groups were fighting against one, there were times that stuntmen flipped or fell back when they were nowhere near the action. Bodies being thrown or kicked far distances looked absurd even for a wuxia. You could also see at least one person tuck the spear under his arm when he was supposed to be run through with it. Overall, the fights and there were a lot of them, were entertaining with high stakes and numerous combatants.

More importantly than Jimmy Wang Yu for me was director/writer Kao Pao Shu. She was one of the very few women who had the chance to direct these masculine movies. I wish there had been stronger women in the film but we can't have everything. The White Dragon was an anti-hero, the lone loner who wanted to be alone, but when the chips were down could be counted on to stand up and fight for what he thought was right no matter the cost. The pace of the film kept it engaging as the swords and spear flashed almost continually.

9/15/23

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Knife fights with a side of kung fu

The Iron Triangle of Ti Lung, David Chiang and Director Chang Cheh set aside kung fu for the most part and picked up knives instead for The Duel aka Duel of the Iron Fist. The grand duel foreshadowed from the start would pit allies against each other in a fight that could not be avoided.

Set during the early part of the 20th century, Ti Lung's Tang Jen Chieh is the godson of a local Triad lord and brother to Ku Feng's Jen Lin. A hired killer, David Chiang's "Rambler," helps Jen Chieh when fights breakout. With buddy Hsiao Mao (Cheng Kang Yeh) they seek to protect Shen Tian Hung, but he is murdered during one of the huge brawls that begin the movie. Jen Chieh takes the fall for the fight, bids his girl Butterfly goodbye, and hides in the south until the heat is off. He returns home after numerous attempts on his life with only Hsiao and his now drunken brother on his side. The former accountant Kan has taken over the gang and is seeking his death. Jen Chieh is devastated to find that Hu Di/Butterfly is now a prostitute. With his world turned upside by treachery and death, Jen Chieh vows vengeance on those responsible.

The Duel's strength was the prickly bromance between Jen Chieh and the Rambler. Their complicated relationship gave depth to the impending collision. I've never been a David Chiang fan, but he and Ti Lung did have a nice chemistry together. I'm always happy to see Ku Feng, especially when he's a good guy. The problem I had with the movie was that the narrative felt poorly paced and needlessly confusing in others. Fortunately, the relationships between brothers and frenemies created a compelling movie when the plot lines didn't.

Tang Chia and Yuen Cheung Yan kept the fights interesting even when they were the few or the one against many. Close-ups were used which meant they couldn't have randomly flying bodies in a huge scrum. The slices and kicks were well timed and for a 1971 Hong Kong film---fairly fast. Instead of fists and kicks most of the fights involved knives or other sharp objects. The duel commenced after another free for all brawl in the rain with the two combatants wielding bamboo poles fighting in a puddle-filled courtyard. The death toll was high for this film, high even for a kung fu flick. I was disappointed that guns were brought in for the final battle. I don't mind trampolines, wires, and creative filming, but for me, guns don't belong in kung fu films. Because of the rapidity of skirmishes it was hard trying to distinguish the faces of the stuntmen extras and fighters-Chan Sing, Jason Pai Paio, and Yuen Woo Ping were among the many familiar names.

The Duel was an entertaining, if slightly different, film for the genre. The action rarely slowed down and the double crosses and revelations kept going until the end. Ti Lung and David Chiang displayed the special rapport that saw them through 20 films together. If you are a fan of old martial arts movies, this is one to try.

9/14/23

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"A flower once bloomed will hold to the vine, while a bud will fall."

Kurosawa Akira worked on this script but didn't live to film the story. The Sea Is Watching seemed far from his usual comfort zone as it was woman centric and heavy on romance. You'd have to go back to just after WWII to see him tread so heavily into romantic territory. Director Kumai Kei picked up his mantel and made the film, but it felt far from the Kurosawa films most of us are familiar with.

The film centers around a brothel and a young prostitute named Oshin. She has a big heart and a bad habit of giving it away to the wrong men. Kikuno is an older prostitute with an older suitor who wants her to come live with him. Stopping her is a violent yakuza lover who thinks he owns her and uses her earnings to pay off bad debts. The young women stick together and support one another through their ups and downs. After a bad romance, Oshin falls hard for a destitute man who is ready to end his life. He will play a key role when a torrential storm churns up the sea and the nearby river sending flood waters toward the town.

The cinematography and sets were beautiful and the colorful kimonos stunning. The acting seemed overwrought at times as the younger thespians weren't as polished as the more experienced actors. Shimizu Misa grounded the young oiran with a more reserved performance.

This film played like a melodramatic slice of life on the wrong side of the bridge as the women dealt with the caste system, love, heartache and dangerous clients. The middle bogged down making an already long film feel longer. However, the ending gave the film the emotional weight it desperately needed when one person showed the true samurai spirit in a moment of love and sacrifice with the pure-heart of a warrior.

9/9/23

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"Can't I find my own happiness?"

Ozu once again examined how a traditional family was forced to confront modern thinking in relation to love and marriage. He did so in a humorous manner without wandering into the dark side as he was capable of doing. In Equinox Flower a father with two independent minded daughters found himself suffering in a sea of his own inconsistencies from which only the women in his life could save him.

The film opens at the train station with a storm warning. If only the men in this film knew the storm of independent thought that was going to upend their lives. Hirayama Wataru gives an emotional toast at a young couple's wedding. He praises them for marrying for love because his marriage had been a pragmatic arranged marriage. Later that week an old friend visits him and asks him to check on his daughter, Fumiko, who has left home. She didn't want an arranged marriage estranging their relationship. Wataru found her working at a bar and in love with a musician, but happy and healthy. No problem there. One of his daughter's friends, Yukiko, asks for advice dealing with her mother who is always trying to matchmake for her. He tells her not to be in a hurry to marry. "You may think marriage is golden, but it can end up being brass." When she dreams of a love match-no problem. When a young man name Taniguchi comes to his office asking permission to marry his oldest daughter, Setsuko---big problem. He was not consulted and didn't even know they were dating. Without realizing it he begins to set into motion the kind of estrangement his friend had with his daughter. The women around him begin to mobilize in their own subtle and not so subtle ways to help him change his mind and give his blessing to the young couple.

Setsuko and Yukiko pinky swore to help deal with their domineering parents and Yukiko laid the perfect trap for Wataru. Wataru's youngest daughter, Hisako, pushed for Setsuko to have a love match knowing it would be her turn next. Kiyoko, gently nudged her husband to do the right thing, always believing that he eventually would. With four women against him he never stood a chance no matter how controlling and cantankerous he could be.

I had to remind myself numerous times that this was 1958 when Wataru dropped his clothes on the floor for Kiyoko to deal with, told her to turn the radio off like you would a child, and went drinking or on reunion trips with his buddies. He also grounded Setsuko and told her to quit her job because he was angry with her. Ozu's wives always seem terribly confined to the house with no social life whatsoever except caring for their husbands. Wataru worked late and spent time afterwards with male friends. Kiyoko stayed in the house with only a maid for company. When Kiyoko yearned for the days during the war when the family huddled together in the bomb shelters because they were actually all together, it was sad indictment on her life.

Ozu put color to good use in his first film to use it. While much of the settings were beige and gray, most of the men dressed in gray suits as well, he displayed bright pops of color in red, green, and blue. The women, with the exception of Kiyoko, often wore bright colored kimonos. His teapot (red) had a couple of closeups and trains also figured into the story as they usually did. I have never grown tired of his meditative compositions and framing of shots. The colors he chose were as soothing as they were in black and white. The only drawback to his style, for me, was as ever, the face nearly straight onto the camera framing which was jarring during dialogues because the characters were looking at me and not the character they were conversing with, bouncing back and forth like a ping pong.

Papa Hirayama came across like a 1950's man, one who was used to getting his way in everything at home. What was different was that the women in his life called him on it. Yukiko complained in the same way about her overbearing single mother and Fumiko refused to go home because her father wanted everything his way. The old tradition of a parent determining who their child would marry was giving way to the young people wanting to marry for love. And while Wataru could appreciate that for everyone else's daughter, he had trouble letting go of control of his own. Fortunately for him, the women in his life banded together to show him his own hypocrisy. He also learned when a woman said "it's fine" that he should not assume he had won the argument. Wataru was right though, it takes a lot of work to turn brass into gold in a relationship.

9/9/23

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Samurai daddy take your kid to work day

Lone Wolf and Cub: Sword of Vengeance was the first in a series of movies about a disgraced ronin caring for his baby son while seeking revenge on the people who murdered his wife and framed him for treason. This ronin of few words left a trail of spurting arteries along with piles of limbs and decapitated heads.

Ogami Itto was the honored executioner for the Shogun until one day the treacherous Yagyu clan decided they wanted his position for their clan. They murdered his wife and set him up on treason charges. The wily swordsman not only escaped the executioner's blade but won his freedom as long as he stayed out of Edo. Pushing a secret weapon laden baby cart, he had a sign reading "Sword for Hire" and "Son for Hire." No longer using his feared name, he and his son were now known as the Lone Wolf and Cub. An assassination job took him to a hot spring in a mountain village being terrorized by bandits. Playing a sheep looking after his lamb he found himself among captured travelers. It didn't take a fortune teller to know what the fate of the bandits would ultimately be.

Ogami had his own code of righteousness formed by his job and his responsibility to his son. It meant when he saw a woman being raped and her father murdered that he didn't step in, which didn't exactly grant him a halo. Nor did it stop him from servicing a prostitute in front of crowd in order to "save" her. A man's gotta do what a man's gotta do. Like other 1970's movies, there was plenty of sexploitation. Had they toned down the naked women and sexual violence I would have enjoyed this movie more.

This film felt like they were setting the table for more courses to come. I was surprised how quickly the movie was over and how little happened in the present as there was copious use of flashbacks. Wakayama Tomisaburo was an accomplished martial artist and his skill showed during the fights. At least the fights I could watch when I wasn't closing my eyes during the severing of limbs and buckets o' blood spewing everywhere.

Lone Wolf and Cub reminded me of the Mandalorian only with more blood and flying body parts. Ogami's son could have given Baby Yoda a run for his money in the cute kid with a lethal daddy department . If you can overlook the '70s sexploitation and are in the market for an old school gore fest samurai with a baby who is also seeking revenge film, this is it.

8/31/23

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