Qun long xi feng

"...The film is like a battleground. Love. Hate. Action. Violence. Death. In one word...emotion." -Samuel Fuller, "Pierrot Le Fou"

Before "Kung-Fu Panda" there was Sammo Hung, who is a burly martial arts action star, and in "Pedicab Driver" a five star director who knows how to throw his weight around without missing a beat. Like Jackie Chan (who he choreographed fight sequences for), Hung combines physical comedy with self propelled stunt work, showcasing both the fury and the funny.

In 1930's Macau, China two rival groups of pedicab drivers negotiate how to split up the cities work, half will take passengers, and the other half will take cargo, and civil war is nearly averted until a chef chases a cat into the room and all hell breaks loose. The subsequent battle seamlessly recalls both "Star Wars" and "The Three Stooges", without loosing any of it's frantic energy or becoming a parody.

Pedicab Driver is first and foremost a Hong Kong action film, but while watching it you don't get the sense that each scene is designed to introduce a new excuse to fight. Some sequences, like the battle in the gambling den, do seem non-sequitters, as we never return to that set or it's characters, but the execution of this scene is so flawless that you rarely ease back from the edge of your seat long enough to mind let alone gripe. Sammo and his friend "Malted Candy" are passenger drivers, who both fall in love in with different girls at the same time. Sammo has to compete with a lecherous baker to win the heart of his girl in classic slapstick fashion.

While Malted Candy's story, which is minimized early on but expanded later, takes the form of a romance, and then a tragedy once it's revealed that his love interest is not all she seems. This does not have the makings of a great tale, but it is very much a great movie, that handles these stories with a poise that genuinely enhances the action sequences, which are almost submerged under the story and characters (a rarity if not a freak, for an action film of this caliber).

Yes, the bad guy is ugly, the good guy is handsome which is all very obvious, but Sammo is big ol kung fu teddy bear, whose agility and lightening fast speed belie his Chris Farely physique, and it's his performance which elevates the movie into something amazing. The comedy is funny, the romance is sweet, and the action is one of a kind combining the best of martial arts cinema, with an easily accessible drama that makes us care about the characters and their pains, joys, and inevitable revenge.

Pedicab Driver is badass and brutal at times, but never sacrifices the charming lightness that makes the movie so enjoyable and gratifying in a way few of it's exciting peers (then and now) permit themselves to be. It's the type of film that gives the impression that everyone involved was enjoying themselves by effortlessly doing what I do best. This joy pours from the screen, and it's hard not to become immersed in it.

I recently watched another HK action film featuring Sammo called "Zu: Warriors Of The Magic Mountain" and though it had similar sizzling combat (though largely artificial; wire or animation driven), it lacked a humane element, like reading a dry translation of an ancient myth. Pedicab Driver has a face, and a heart, and a fist, and watching them collide is a true joy to behold. I challenge anyone to not be entertained by this movie. Go on, I dare you!

Pedicab driver effortlessly mixes genres in a way that feels like it uniquely belongs to HK cinema. It has comedy,tragedy, kung fu and it manages to be a period piece while it's at it! I love absolutely everything about this film from its cast, to the choreography and its constantly interesting and genre-bending story.

A legendary film

10 out of 10!

This, "Prodigal Son" and "Eastern Condors" are my favourite Sammo Hung films. The Fat Dragon is fatter in this outing than he was in "Condors", but he's no less sure-footed as director or actor. He is, in fact, at the top of his form and delivers a devastating, brutal actioner that boasts half a dozen amazing sequences and manages to tell a compassionate, sweet love story also. Love and romance are not the director's priorities here, but they serve as curious adjuncts to the action, and insure that viewers don't hit the fast-forward button between the physical clashes.

The opening scene, which features a funny light sabre duel, sets a solid but deceptive tone. A sequence in which Sammo's pedicab is chased by a car is beautifully staged and sweetened with a sharp, comic tone. The fast and furious stick fight between Sammo and Lau Kar Leung is a model of dazzling choreography and sharp, superb direction, and easily one of the best ever of its type. The film's violence escalates slowly until, finally, when the climactic showdown comes, we are subjected to some of the most brutal altercations ever seen in a Sammo production. The director/actor's assault on Billy Chow and a house filled with angry, menacing opponents is a bone-cracking, physically punishing delight.

Terrific on every level and one of the best martial arts movies ever made.

Great score, too.

Sammo Hung's 1989 film Pedicab Driver is considered by many to be his masterpiece. I have to agree to some extent as the film in its greatest parts really gets as incredible and fantastic as any Hong Kong film ever has. It is a combination of pretty good and well written drama, interesting and sympathetic (and also non-sympathetic) characters, some genuinely funny humor and truly over-the-top hyper kung fu that is guaranteed to make many jaws drop when someone not familiar with Hong Kong cinema watches the film as well as it does to the experienced enthusiasts of the unique industry.

Sammo and Max Mok Siu Chung play two pedicab drivers who live in Hong Kong in the middle part of the last century, I think. They drive their cabs and are also desperate for love. Sammo is interested in local baker girl Ping (Nina Li Chi) while Max one day meets a mysterious and beautiful Fennie Yuen Kit-Ying he falls madly in love with. Many other characters get introduced, too, and they remain pretty clear all the time if the viewer really concentrates on the film and its plot so I cannot say the film is confusing as it could be much worse especially in Hong Kong! Soon we get to know, for instance, that a ruthless gangster family is terrorizing the neighborhood and of course their violent acts affect our protagonists, too, and so the premise for some of the most incredibly choreographed kung fu fight sequences has been created. As well as some nice drama.

The film has a great cast. The leads are all very good and restrained (not as painfully awful over-acting and "humor" as in Sammo's otherwise great Eastern Condors (1987), for example) and they are also, thanks to the carefully written screenplay, pretty likable and easy to identify with. The cast includes many familiar HK cinema faces and directors in small roles like Corey Yuen Kwai (the legendary action director and director of films like Saviour of the Soul 1 and 2, Ninja in the Dragon's Den and Fong Sai Yuk 1 and 2), the masterful composer Lowell Lo Koon-Ting (John Woo's The Killer and Ringo Lam's School on Fire and Prison on Fire among many others, Pedicab Driver included!), the Shaw veteran Liu Chia Liang (whom with Sammo has a furious fight with sticks), Alfred Cheung Kin-Ting (the director of dark HK noir classic On the Run from 1988), the late great Lam Ching Ying (best known for his friendly face in various HK vampire horror/kung fu/comedies) to name just a few. In fact, the cast in Pedicab Driver is one of the most interesting I've seen in any other HK production.

The film has some interesting peaceful moments most notably about the love affair between Max Mok and Fennie Yuen and one crisis they confront thanks to Lowell Lo's character. They really could have done this a completely serious piece if they had wanted as the discussions about human values and meaning of love, no matter what's your past or what you've done for living, get so serious and genuinely effective at the middle part that the film immediately gets much more noteworthy than our average kung fu spectacle actioner. Also the other characters' efforts to cure things is very touching and tells delightfully much about right human relations and friendship, and of course love. Still I think what Fennie says to Max (about the future "bad cooking") is very unnecessary and tones the potential of the whole segment and its themes down pretty effectively, unfortunately.

But then we get to the thing the film makers were interested the most in. Which is the action, the outrageous and over-the-top action. The fight scenes include traditional kung fu, some sticks, meat cleavers and the like and they're used here as hysterically as in the most mind blowing kung fu scene I've seen in any film ever, Jackie Chan's Drunken Master II (1994), they really are that great! There are wires and they're used very cleverly and people literally fly to the opposite corner of the room when they get kicked or punched. Simply amazing and again something ONLY Hong Kong cinema can deliver. Also the dangerous stunts make the viewer hold his/her breath as the film has one fast car vs. pedicab chase sequence and various dangerous looking jumps and twisting bodies flying through the air and crushing with force to the hard destination. Still the film makers seem not to "accept" the violence of the film as Sammo is, like the late Bruce Lee, willing to give himself up after the final murderous mayhem at the gangster villa, and I think this kind of morale, no matter how obvious or shallow it may be, is a good thing even in a harmless film like this, as cinema is meant to be much more than just brainless entertainment.

The film has also some very witty bits of humor that I'm not sure everyone in Hollywood or America (for example) would understand or like at all. The hilarious Star Wars gag at the beginning is definitely among these and it literally forced me to laugh when I realized what I was seeing. Also some funny scenes are created out of Sammo's passion for Ping. Still, the greatest amazement-filled laugh came during the scenes depicted in the former pharagraph as the imagery of big and tall men flying with great force over the screen to the walls or furniture is simply INSANE and so breathtaking I just cannot hide my feelings and thoughts about these Eastern film makers when I witness something like this, and this is nothing but positive and appreciating reaction, of course.

Pedicab Driver is among the most incredible Hong Kong action films that I have ever seen and easily among Sammo's greatest achievements. If the few minor flaws were not there, this could rate even brighter and higher. 8/10

"Qun long xi feng," directed by the legendary Sammo Hung, is a thrilling, complex, and, at times, masochistic ride through the underbelly of Hong Kong. It's a film that wears many hats, blending martial arts, action, comedy, romance, and drama with a hint of social commentary. While it has its flaws, it's an underrated gem that deserves a wider audience and a proper release.

The story follows our hero, Sammo, as he battles evil villains, fights for love, and revolts against exploitation, particularly that of women. The film has an impressive range, seamlessly shifting from romantic moments to extended, brutally choreographed brawls. One scene, in particular, stands out: Sammo, covered in bruises, shares a tender moment with his love interest, a stark and touching contrast.

The villains are truly despicable and ruthless, and you'll love to hate them. They are nasty, relentless, and deserve every bit of the punishment Sammo dishes out. The finale, however, feels rushed, and an extra ten minutes of comeuppance would have been satisfying. The film also struggles with tone, with extreme shifts that may turn off viewers who prefer a more consistent pace.

"Qun long xi feng" is a unique entry in the Hong Kong action genre, offering more than just impressive fight scenes. It has a compelling narrative, an anger toward social injustices, and an emotional core that will leave you surprisingly moved. It's a shame that this film is hard to come by, as it is one of Sammo Hung's greatest achievements, and with a few minor tweaks, it could have been an undisputed classic.