Tie hou zi

I'm a big fan of Chen Kuan Tai. His elegant style stands apart from other martial arts stars from the same era, and you can tell that people find most of his movies favorable from the high ratings they get.

This is one of my favorite movie of his (Others being The Flying Guillotines, and Executioner From Shaolin), and also one of my favorite kung-fu movie.

He plays a rebel against the Manchus in this movie, but that's almost irrelevant. It's strait forward Chen Kuan Tai with him being at his best. I like this movie more than some of the other kung-fu movies that are considered "classics" such as "The Five Deadly Venoms". None of those characters has the appeal Chen has. In this movie, he's also the director.

One great kung-fu movie that's a classic in its own right.

The movie starts with animal cruelty mixed with two guys sparring. Kam Kong wants all the rebels killed. Chen Kuan-Tai's family is arrested while he is gambling and they are all killed. He is reduced to stealing the offerings at Shaolin. The monks offer him a place. It seems he has already learned most of their kung fu just by watching. He leaves the temple with the strategy "keep your friends close and your enemies closer". He becomes part of the corrupt officials that killed his family in order to get close enough to the general to kill the man at the top. Revenge is certainly the most common plot of martial arts movies and it might be the most common plot of all movies. I find it hard to understand why revenge is such a favorite plot in Chinese culture while at the same time the dominant Chinese philosophy is Buddhism and Buddhism has no place for revenge. "At what price revenge?" typically becomes a moral issue in the revenge plot. I would say never in the history of any martial arts revenge movie did revenge come at a higher price than in this movie. Fans of Chen Kuan-Tai must ask what was his best movie? "The Flying Guillotine" is certainly more well known but I consider this movie his best because he had more to do with it, he both acted and directed "The Iron Monkey" so I rate this as a ten of ten for Chen Kuan-Tai perfection.

Ma (Chen Kuan Tai) is too busy gambling and womanizing to be of much help when his family is rounded up by a local general. By the time he realizes what's going on and tries to intervene to save them, his relatives refuse to openly acknowledge that he's a member of the family. He's beaten senseless by a benevolent benefactor who claims that Ma is HIS insane son. Thus is he saved. To stop a younger son from revealing the truth to their jailers, Ma's father strangles the boy with a chain. The entire family is subsequently murdered. The next time we see Ma, he's a sneak thief known simply as "Monkey." He's allowed to join a Shaolin Temple he's been stealing food from and an elderly monk observes: "In your life, someone has planted much evil. You'll repay him in kind." Monkey, it's decided, will learn Monkey Fist from The Bitter Monk. Once he's learned what he needs to know, Iron Monkey bids farewell to the Shaolin Temple. "You're still full of hatred," the elderly monk tells him: "And, this time, I smell blood." In order to work his way up the ranks of the Ching army to get to the man he wants, Iron Monkey kills a lot of innocent people- including some "Shaolin rebels." Chen Kuan Tai doesn't monkey around in IRON MONKEY: he's a surprisingly capable director, and his Monkey Fist kung fu is far superior to the usual over-the-top antics we usually see from Monkey stylists. His fluid transitions from one stance to another are a joy to watch and he conveys a sense of power often lacking in Monkey style fight scenes.

THE IRON MONKEY is a vehicle for Shaw Brothers star Chen Kuan Tai, the actor well known for his villainous performances in the likes of CRIPPLED AVENGERS and his later appearances in Triad movies. In it, he plays an exile who witnesses the execution of his family before fleeing into the woods and becoming something of a beggar. Later, he turns up at a Shaolin temple and pleads sanctuary, finding himself training in the mystic arts of monkey-style kung fu before going on a rampage of revenge.

This film was made while Kuan Tai was still under contract to the Shaw Brothers studio so he must have filmed it on the side in Taiwan. It looks a little cheap in places but generally provides solid entertainment, and it's a big help that the fight scenes are well-shot and relatively exciting. The opening sequence in which a monkey battles an eagle is quite memorable although the famed monkey style doesn't really come into it until the climax. Kuan Tai's version of the form isn't as showy as that of some other actors but it's definitely hard-hitting.

I've always liked Kuan Tai as an actor, even in his bad guy roles, so it was a pleasure to see him as the imposing hero here. The film is the usual mix of fight footage and training, with the villains getting away with everything until the final half an hour. The last 30 minutes provides an odyssey of fight action, building to a violent end fight in which the monkey style comes to the fore. It's solid stuff. Ka-Yan Leung (aka 'Beardy') stars in support as one of the bad guys and gets to battle our hero in one frenetic scene.

There's a decided brusqueness in the editing and storytelling that makes for a somewhat choppy viewing experience, with movement between scenes and beats (and even points in time) that's far less than smooth, and therefore less than fully convincing. It's gratifying that there is at least a complete, cohesive, compelling story told, which is more than can be said of some lesser contemporary martial arts flicks. Set this aside, and in 'Iron Monkey' we see facets common to most all such fare: a period setting, brought to bear with gorgeous sets and costume design; pronounced sound effects, exaggerating blows or even just movement; dubbing in the widely available version that's questionable at best; direction that accentuates spectacle where possible - and, of course, excellent stunts and action sequences. There is perhaps less emphasis here on fight scenes than in similar titles, surely making it a tad less appealing when that's what we come here for in the first place, but those that we do get (almost entirely in the last act) are fantastic, and worth the wait.

Despite how the plot is structured, and the editing that shapes it, over a runtime of ninety-five minutes the narrative shows itself to be rather simpler than one might think. It's still a good time, though, for that's all that the picture wants to provide, and that's what we get, however much one may reasonably critique various aspects. The fight choreography really is terrific, however long we wait for it - and in fairness, while the most significant and invigorating action violence waits over an hour to show up, we do get the obligatory training scenes in the meanwhile that are enjoyable in and of themselves. I think the feature would have definitely benefited from a more careful, mindful hand, in most every capacity, not to mention even more of the martial arts that audiences anticipate in the first place, yet it remains well done and worthwhile in its own right, with the climax naturally being the best of all. While 'Iron Monkey' falls short of being a must-see compared to many of its kin, if one has the chance to watch it's nonetheless suitably entertaining despite its weaknesses, and sometimes that's all a movie needs to be.