Du bei dao

I just watched the Dragon Dynasty DVD release of this movie that I'd last seen over 40 years ago as an impressionable pre-teen in Hong Kong. The restoration is quite stunning. The colors are vibrant and the print is mostly scratch-free. You also get to appreciate how director Chang Cheh in the late 60s/early 70s was a cut-above-the-rest storyteller with his camera placement and some fluid tracking shots, thereby transcending a lot of the hackneyed scripting, stilted acting and the studio-bound sets. However, I also took exception to the fact that the DVD did not contain commentary by Quentin Tarantino as promised by the box notes, and the 2 "film students" who did provide commentary left a lot to be desired. Surely Tarantino would have remarked upon the fact that the most noticeable parts of the musical score (including the entire end title scene) was lifted lock, stock and barrel from the 1966 Ralph Nelson western DUEL AT DIABLO. (Composer Neal Hefti's estate should sue!) And at another dramatic moment, a very familiar John Barry suspense motif from the Connery Bond films makes a 3-second appearance. It's really pathetic that these "film scholars" completely missed these cultural touchstones that make Hong Kong movies from this era such crazy-quilt pleasures.

THE ONE-ARMED SWORDSMAN (1967) is often cited as Hong Kong's first real martial arts film, i.e. with emphasis on martial techniques, styles and training rather than on clan politics, corrupt officials, and court intrigue. Star Jimmy Wang Yu is much more intense here than in most of his previous starring roles (e.g. TWIN SWORDS and TRAIL OF THE BROKEN BLADE) and his fighting is much more ferocious. Overall, this is a bleak, somber film, with occasional tearjerking and melodramatic moments. The darkly handsome Wang Yu brings the right tone of brooding and melancholy and makes the climactic moments of violent outburst quite satisfying.

Wang Yu plays Fang Kang, a martial arts student whose right arm is chopped off in a sudden confrontation with his master's impetuous daughter and then must learn how to fight with his left. He runs off and finds a simple farm girl, Hsiao Man (Chiao Chiao), to take him in and care for him. She has a half-burned old swordfighting manual which she gives to Fang to teach himself left-hand sword techniques. Her father had died after a sword fight (over the book) and her mother had started to burn it. Her mother had warned her to never fall for a sword fighter and she urges Fang never to fight. However, after he is humiliated by some martial arts students when they try to flirt with Hsiao Man, Fang resolves to fight again.

Fang is forced into action when his former master, Teacher Chi, and his students are attacked by Long-Armed Devil who has called on evil swordsmen, including Smiling Face and his two loutish students, to raid Teacher Chi's school during Chi's retirement party. Long Arm gets things rolling by sending his two henchmen to kill any students they can waylay. The henchmen have a sword-lock on their swords with which they can trap the opponents' swords and slay the opponent with a right hand dagger to the belly. Ultimately, only Wang Yu's short, broken sword is capable of counteracting the sword-lock.

Wang Yu returned to the role of Fang in THE RETURN OF THE ONE-ARMED SWORDSMAN (1968), which is even more focused on swordfights and bloodshed (and is also reviewed on this site). He later left Shaw Bros. to star in ONE-ARMED BOXER (1971), which, along with his last Shaw Bros. film, THE CHINESE BOXER (1970), was a seminal film in the budding kung fu genre.

An evil gang attacks the Chi school of Golden Sword Kung Fu. One student sacrifices his life to save his teacher and his school, his dying wish is that his son be taken in as a student. Young Fang Kang grows up in the school and treasures his father's broken sword and the memory of his father's sacrifice. The other students (including the teacher's daughter) resent him and try to drive him away. The teacher's daughter challenges him to a fight and when he refuses she becomes enraged and recklessly chops off his arm! Directed by Chang Cheh ("Five Deadly Venoms"), this was the first Hong Kong film to make HK$1 million at the local box office, propelling its star Jimmy Wang to super stardom. I am really beginning to appreciate the kung fu genre, especially when there is a gimmick -- a swordsman with one arm? Sounds good to me. And apparently it sounded good to many other people, because there was a sequel and a few spinoffs, too.

I have been a huge fan of HK action films for many years and have amassed a collection of 500+ kung fu films. Have heard about this film since forever, and assumed it was ground- breaking, influential, yada yada yada... but never really sought it out. I guess 'cause it's older than most and it's a swordplay film rather than all out kung fu action the likes of which Chang Cheh later specialized in (i.e. the Venoms films). However, finally having sat down and watched the remastered rerelease, I was absolutely blown away. One of the most emotionally intense HK films I have seen. Ignore naysayers... they must be heartless robots. Dramatically it is certainly on par with Lau Kar Leung's own films, and bears unmistakable thematic connections to his body of work (especially 8 Diagram Pole Fighter). Not to mention it's wonderfully filmed. If scenes are too dark, you just have a bad copy. The restored Celestial version is beautifully dark and vivid... no problem following the action. And there is plenty of action. Choreography is slightly dated, but it's 1967! The fighting is easily as good as anything from the era. And yes, I've seen the films the other reviewer mentions... also great films, but by no means superior fighting-wise. In fact, I'd venture to say it's an important milestone in the progression of kung fu choreography... with the fighting playing a pivotal role in the storytelling. Okay, most days I too would prefer to watch a Venoms movie, with my jaw dropped open in disbelief at the superhuman abilities on display... but come on... this undoubtedly deserves the credit it receives. Any true fan of HK films needs to see this.

Theater acting was very noticeable in this production, and the practical effects were as well, theater-like down to the last scene and the formulaic combats of the "this one person must die to advance the plot" variety.

Overal, a bunch of joyous kung-fu-ish nonsense - you will see what I mean, intertwined with a very theatrical drama featuring specific postures for different emotions and a bunch of men whose traditional theatrical exaggerated angular eye and flowing beards makeup probably contributed quite a lot to the extreme insistence of Western popular media on "slant-eyes" and "fu manchu" stereotypes, without understanding that a lot of the Shaw Bros movies of teh time featured classical Chinese theater conventions.

Overall, not a bad movie for a relaxing evening which brings some unintentional laughs.