Hong Wending san po bai lian jiao

Shaolin kung-fu practitioners and brothers Wu and Hung (Gordon Liu) attack and kill the merciless Pai Mei; they and other Shaolin disciples are jailed, but their release is ordered because "the people" want them to be free. However, Pai Mei's even more merciless brother White Lotus (Lo Lieh) has other ideas; he kills off many members of the Shaolin Temple, including Wu and Hung's girlfriend, leaving Wu's pregnant wife Mei-Hsiao (Kara Hui) and Hung as practically the only members of Shaolin left to avenge the deaths. But Hung can't defeat White Lotus with a combination of the tiger and crane kung-fu moves that he and his brother used to defeat Pai Mei; instead, it is up to Mei-Hsiao to teach him feminine kung-fu techniques, the styles of embroidery and acupuncture. Will those be enough to defeat the evil White Lotus, or must Hung pay the price that his brother and their people did? Kung-fu movies, particularly those of producers the Shaw Brothers, don't really require much in the way of close attention to the plot, as the plot primarily exists to move the characters from one fight sequence to another. And the sound effects accompanying those fights are just sublime! Gordon Liu and Lo Lieh were international stars of the form, prior to the advent of Bruce Lee even; and ironically, in Tarantino's "Kill Bill Vol. 2," Liu plays Pai Mei, the character his character in this film kills off at the beginning of the movie, setting the story in motion. FantAsia 2012 was lucky enough to locate the last surviving celluloid copy of this classic film, complete with garbled English subtitles and faded-to-red colour scheme (the result of the passage of years, not an intentional part of the film), and as long as you check your logical brain in at the door, it's a hoot to watch, 30-odd years on!

FISTS OF THE WHITE LOTUS (aka CLAN OF THE WHITE LOTUS, 1980) has a standard kung fu storyline of a student forced to learn different kung fu styles in order to defeat the superior skills of a villainous master who killed his brother and other family members. This simple structure, however, allows for a succession of expertly staged kung fu bouts and imaginative training scenes featuring some of the genre's top-ranked performers.

Gordon Liu (MASTER KILLER) stars as the student. Kara Hui Ying Hung (MY YOUNG AUNTIE) co-stars as his sister-in-law who teaches him women's kung fu styles, a soft response designed to counter the opponent's hard blows. (She makes Gordon learn embroidery at one point.) Their training scenes together are quite graceful and laced with humor and give the impression of an elegant dance team at work. After Gordon's use of women's kung fu fails to defeat his enemy, he turns to another teacher to learn an acupuncture-based style which targets an opponent's pulse points, a technique which finally does the trick.

Lo Lieh (FIVE FINGERS OF DEATH) plays the white-haired villain and is credited with the film's direction. The great Wang Lung Wei plays one of Lo's henchmen and fights Gordon early in the film. Lau Kar Leung choreographed the fight scenes, but his directorial touch is evident throughout the film, which closely recalls his own EXECUTIONERS FROM SHAOLIN (1977), which has a similar structure and also features Lo Lieh as a white-haired villain.

This movie is, bar none, the most fantastic kung-fu film ever made, all centered around the main performers, particularly Gordon Liu and Kara Hui, and specifically the star-director, Lo Lieh. Lieh is probably the grandmaster of kung-fu films, and his ability to take even the most mundane sneering thug character and give it life is a credit to his acting. Lieh plays Priest White Lotus here, a white-haired super-villain whose fighting technique consists of essentially becoming as untouchable as a ghost. Priest White Lotus cannot even be touched, much less struck, and the displays of power combined with his eerie abilities make him visually stunning.

But it's more than simple physicality. Lo Lieh gives this supernatural force so much humor, vitality, and humanity, that Priest White Lotus is elevated into one of the great onscreen villains ever, in any genre of film. The scene where Priest White Lotus fights the vengeful hero Liu, who has attacked Lieh during his bath, forcing the Priest to block vicious blows while naked and pulling on his houseclothes, is simply one of the unbelievable joys of watching this movie. You'll laugh, not because the scene is played for laughs, but because the scene is GREAT, and the two actors are dead-on incredible, and you can't believe what you're seeing.

And the final conflict between Liu and Lieh cannot be described. There is a frightening majesty to Lieh's Priest, and Liu's hero the perfect culmination of the kung-fu revenge-hero, that the viewer is inawed by them. They become god-like in their techniques, and yet more human as their familiarity through repeated battles reveals just how much alike the two men have become. The two, evil and good, are seperated not by their skill or philosophy, but by the need for one to nullify the other. They have become so close that it is impossible for them both to exist.

FISTS OF THE WHITE LOTUS is a great film, and unforgettable.

Another churned out Hong Kong production by the Shaw brothers in what can be seen as a Kung Fu cult classic starring the likes of Gordon Liu and Leih Lo as the priest white lotus in colourful performances. The story follows that Shaolin students being released from prison, to only be hunted down by members of the white lotus clan. Survivor Hong Wen-Ting seeks revenge against the priest white lotus for killing his best friend and his fiancé

For me there's something nostalgic about the sub-genre, which always brings a smile. Fun, brash and exciting all rolled into one. "Clan of the White Lotus" spends a lot of time either on the masterfully shot and heart racing choreographed martial arts involving the many attempts to take the priest white lotus' life and that of Hong Wen-Ting constantly training to change and strengthen his fighting style to do so. While frequently violent and bloody, it stays rather comical. These tend to be around the training and the constantly amusing charades involving the White Lotus and Hong Wen-Ting. Lieh Lo also directs; crafting out eccentric set-pieces with precision and impressionable images clocking in with creative slow-motion and detailed backdrops. The only thing is that a uniformity pattern starts to work its way in.

When Hung Wending and Brother Biu defeat Priest White Eyebrows, the White Lotus Clan comes out for revenge. When Shaolin monks are released from captivity, Ko Chun Chung and the master White Lotus Priest slaughter them and turn towards Ting and Biu. Wending and his pregnant sister-in-law flee the battle to fight another day. The next day comes but Wending's crane and tiger style is clearly no match for the White Lotus Priest – and no matter how much he practices on the hapless Brother Shing, it is not getting better. Once her baby is born, his sister-in-law teaches him some unusual techniques to try to refine his skills to be capable of winning.

The opening battle of this film confused me a little bit, until I realized that it was more or less picking up from the end of Hong Xi Guan (Executioner from Shaolin). From here we get a plot which is fairly generic in terms of its details – a boss villain of great power, and a man who will train to defeat him, leading to a big final battle at the end. In this way the film does just what it does and there is not really much in the way of story beyond the tickboxes it goes through. What makes it good though is that there is a good sense of humor throughout. It takes a minute to get to, but once Brother Shing is in the film, it gets consistently very funny – both in his performance but also the way that Wending embraces the more feminine style of kung-fu. Between these two factors it is quite amusing.

The action is mostly good, although having watched a lot of films using weapons recently, I did miss this aspect of it since most of this is hand-to-hand. I also am not a fan of the whole 'retractable groin' thing – I remember it from the previous film and, although it is used less here, it is still in the character. Generally though the performances of Liu and Lo are both very good, playing off one another well. I was perhaps not as taken by the action as I would have liked, but it is done with a certain amount of fun, while the majority of the film does have frequent laughs and chuckles, making it an entertaining if slightly silly affair.