Shaolin

In 1982, The Shaolin Temple puts Jet Li into the spotlight as a young man highly skilled in martial arts, which path-ed his acting career into the fame he has today.

Around 29 years later, director Benny Chan comes with a new adaptation of the classic, which shares a similar story with a new cast. Here, we have Andy Lau, Li's co-star in The Warlords (2007) taking the leading role of Hou Chieh, a ruthless warlord who crosses path with Shaolin Temple and sees transformation of himself from a ruthless warlord to a monk with compassion. Together with Nicholas Tse and Jackie Chan in a special appearance, Shaolin marks the first Chinese blockbuster to hit the screens of Asia in 2011.

The story is set in China after the fall of Qing Dynasty with various warlords fighting over the territories. Hou Chieh, a ruthless warlord who bear grudges with Shaolin Temple and sets to get rid of the people around him for his own benefits, was betrayed by his right-hand man, Tsao Man (Tse). It not only leads to the death of his daughter, but also makes his wife (Fan Bing Bing) decided to leave him for good. After being taken refuge by the cook (Chan), the cook enlightens him and Hou decided to become a monk in Shaolin, leaving down the past behind him and start a new life. Though disciples in Shaolin bears grudges with Hou in the past, they accepted Hou. Eventually, we will see how Hou and the disciples defend Shaolin from the invasion of Tsao's army and the Western powers.

The plot sounds no novelty in it, where we can see how the protagonist repents from his sin to the mistake made in the past, to how they will defend in what they believe in. Here, we have seen how the Buddhist teachings have been integrated into the plot. In relating to the Buddhist teaching on the term 'you reap what you sow' with cause and effect, Hou saw the fall of his power and death of loved ones by betrayal, which he gets it from his belief of the dog eat dog world.

Another perspective of Buddhism that can be seen in Shaolin is 'evil begins with the greed and obsession for power'. This is shown by the portrayal of the sufferings from the civilians during the civil war, with warlords fighting for power and wealth. The perspective has become the main theme of the movie, where not only we have seen how Tsao wanted to control the territory, but also the Western powers who aims to take over China using gun power. This has somehow reflect on what has happened in today's society, on how stronger bodies are getting rid the culture, values and history using destructive powers.

Lau's role of Hou Chieh is different from Li's leading role in Shaolin Temple, in terms of characters and the incidents they have been through. Both shared similarities in their fate and enlightenment, to how they find a way to save the majority of the people around them. Chan's cameo appearances as the cook provides some comic relief for the audience after having a long intense and pressure from Tse's evil character. The comic relief did not last very long, since the fate of Shaolin Temple is the main concern of the film.

Overall, Shaolin makes a very good start for Hong Kong's film industry in the beginning of 2011, where it not only shows how Hong Kong film industry are making a turn from various disappointments in 2010, but also pins hope for better productions in the coming months.

The Shaolin movie I know, was one in the 80s that launched the film career of Li Lianjie, who somewhat faded away until his portrayal of Wong Fei Hong in Once Upon a Time in China that launched him to superstardom. Superstars aren't lacking in this update of Shaolin Temple which promises spectacular action sequences, but what's surprisingly excellent here isn't the action, but the spirit of Buddhism and themes that come along with it.

It isn't a remake per se of the old Shaolin Temple movie given a fresh set of characters and a premise that's remotely similar, set after the fall of the Qing dynasty with warlords battling it out for supremacy and territory in China. In what I thought was quite a stark message in warning of any future infighting amongst the Chinese if they do not stand united, that foreign powers are more than willing to wait for an opportunity to exploit. Economic advantages offered should also be scrutinized beyond immediate gains, where corruption of the few in power would mean severe losses on a national scale.

That aside, this film centers itself squarely on the central character of the ruthless and cunning warlord Hao Jie (Andy Lau), who has no qualms in constantly gaining upper hands amongst enemies and allies even. In a wrongly calculated move to take on his sworn brother in an ambush, his protégé Cao Man (Nicholas Tse) probably had understood his mentor's philosophy that no man is indispensable to quash his insatiable appetite for power and glory, and through the countless of indoctrination in the Hao-Jie-School-of-Thought, it is no wonder that Cao Man ultimately decides to betray his master. Think of it as striking when the iron is hot to become top dog and making decisions, rather than taking them.

In a tale about retribution and karma, Shaolin doesn't deviate very far from those themes, of how evil intentions can lead one astray and suffer inconsolable consequences, only for religion to point one back to the path of righteousness and all things good. In some ways this resembled the story of Huo Yuanjia in Fearless, where pride comes before the fall of man, stripping him of everything and down to his core, then comes the rebuild of character, and ultimately walking the talk and redemption. Hao Jie's story follows this trajectory and there's no qualms about Andy Lau being cast in this dramatic role despite his lack of real martial arts skills as compared to his other counterparts in the film, opposite the likes of co-stars Nicholas Tse, Wu Jing, Xing Yu, Xiong Xin Xin and Jackie Chan who serves as comic relief as a Shaolin monk-cook.

But most of the co-stars were severely under-utilized, as the story, with responsibility coming from no less than five writers, didn't pay the others too much attention. Nicholas Tse probably had the meatier role as the chief villain who schemes and sneers, while the rest are in to showcase more of Shaolin martial arts in one film, except for Xiong Xin Xin being the villainous sidekick to Cao Man, with no dialogue. Wu Jing, Xing Yu and Ye Shaoqun all starred as the requisite monks caught up in the firefight as the latter two become part of a group who steals from the army to feed the villagers. Fan Bing Bing was a complete waste as the token female amongst the cast, and although she had a scene or two in a big action sequence in an ambush, little can be said once she appears on and off as the damsel always in distress.

Action direction came from Cory Yuen, with choreography courtesy of Yuen Tak (responsible for Gallants) and Li Chung Chi, all veterans in their field, so quality is almost assured when the combatants take on each other, although I must say that most fights ended as soon as they began, which is a pity. Quality also goes toward the art direction, with production values culminating in the recreation of the Shaolin Temple, made to resemble a bastion of compassion open to all and sundry displaced by warring factions seeking refuge at its doorsteps in tumultuous times.

Benny Chan's filmography may have blown hot and cold in recent years, but Shaolin establishes him back at the top of the game able to handle a big budgeted spectacle that doesn't necessarily rely on star power and action to deliver the goods, but actually is a thinking man's film on the philosophical aspects of Buddhism, and the balance of Martial Zen. Recommended!

Shaolin is an action packed, dramatic epic in the same vein as the Tom Cruise vehicle The Last Samurai. It also takes place on around the same time period, but in a time of turmoil in China where warlords fought over the land much at the expense of the masses. Warlords, which Andy Lau also appears in is great as well and I highly recommend that movie also. Anyhow, Andy Lau gives an outstanding performance here as Hou Jie. Hou Jie is a ruthless warlord general. His unscrupulous actions catch up with him that result in him taking refuge in a Shaolin temple he once disrespected. His second in command (played by Nicholas Tse) picks up where Hou Jie left off, exceeding his predecessor in immorality and cruelty. The legendary Jackie Chan appears as a lighthearted support role as cook for the Shaolin monks. This tale of redemption is a very well crafted film by HK veteran director Benny Chan. The film looks beautiful and is very well performed, shot and directed. Jet Li's preferred fight choreographer Corey Yuen set up the action, which of course is awesome and there are large helpings of it as well. Shaolin should please most action fans and has the potential to win over viewers who normally stay away from this sort of stuff, as this is very well made and an excellent dramatic film in its own right.

I almost skipped this flick when I saw the low 6.8 rating on IMDb. And to be honest, that would've been really unfortunate! Remember the kind of movies that leave something behind in your hearts long after they've finished running? Well, this is most certainly one of those. The background score and soundtrack will linger in your head, I guarantee you that. But most importantly, just when you THINK you've figured it all out and stamped it 'just another Kung Fu flick'; all ready to be discarded and disregarded, wait for the kicker...!

A simple yet significant moral, getting to know the Buddhist way, beautiful locations, and commendable direction to top it off; This movie truly had the potential to be an epic. Almost...!

I thought I'd go with an 8 at first...but finally decided on a full 10; forgiving its small flaws to make way for the bigger message this movie delivers..!

This might be the first film I've ever seen with Jackie Chan in a genuine supporting role. Since he started in films in the early 80s he has either been the STAR, the star, the co-star, or a mere cameo. There has been precious little in between.

Until now.

In an are in China where many warlords fought and struggled over territory and power, the Chinese Army were cruel and violent pricks – at least that's how they are portrayed here.

One of the worst of these was leader General Hou Jie, he callously orders the killing of innocent villagers for fear that they may possibly be harbouring the enemy, and the killing of the enemy because… well they're the enemy (can't argue that one). When his reluctant 2IC Cao Man expresses doubt at the level of violence and whether those targeted even deserve what is being dished out he receives an impromptu lesson: 'it is better to be the aggressor and be wrong than the passive dead guy', or something along those lines.

On this day though they follow an enemy into peaceful monk territory, a Shaolin temple. While the monks refuse to take sides they will not allow violence on their turf, and they protect the man. Initially.

Hou Jie backs down on his word and guns down the soldier in an act of proactive violence, pausing on the way out only to deface some sacred Shaloin signage. He gets home to his wife and adoring daughter who proudly shows him a drawing of him in action with the title 'My Daddy likes fighting' (I shouldn't judge, my boy might say 'My Daddy likes chips and beer!) Back in cautiously peaceful time Hou Jie becomes increasingly nervous about the prospect of being betrayed or attacked – even by his good friend and ally. In another unnecessary pre-emptive strike Hao Jie takes his friend out in cold blood purely to advance his own station and eradicate another potential rival and hindrance to his success.

Unfortunately though Hou Jie's actions and teaching eventually (and inevitably) work against him, his former 2IC Cao Man betrays him and Hou Jie must seek refuge immediately… but where? What follows is a generally rewarding tale of realisation and redemption. Jackie Chan (see how long it took to even mention him!) plays a humble and peaceful – yet eccentric – cook who kindly takes Hou Jie under his care.

After a period of time Hou Jie embraces the life of a monk montage-style, shaving his head a la Britney for a clean start – albeit without the insanity – and finds peace… for now. Because meanwhile Cao Man has effortlessly and successfully stepped into his shoes and is now just as ruthless and violent a leader.

Confusingly enough in a film about a violent and cruel man realising the error of his ways we always know that this pro-peace film will end in violence, and the action in the latter part of the film is worth the wait. There is an ax-fight that seemed quite realistic and dangerous, a chariot chase (of sorts) and the wire work was used sparingly enough to be forgiven for the most part. Andy Lau proves himself an adept and reasonably athletic martial artist, and there is no shortage of random monks ready to throw down… in self defense of course.

It takes a long while but even Jackie Chan gets to try his aching muscles out near the end of the film, even though in truth his entire role and fighting scenes are thematically at odds with the rest of the film and stand out like a sore thumb. It is like Jackie has now entered the Brian Dennehy / Morgan Freeman phase of his career as the elder statesman, only every director – and perhaps even Jackie himself – can't help but remember that he was once the pre-eminent cinematic martial artist on the planet, so they clumsily try to work him in.

Shaolin is a film book-ended by violence, the redemptive tale in the middle is supposed to provide the moral of the story I guess, but that could easily be forgotten by the 30 minute finale that ends in many dead when even the monks say 'enough'.

Final Rating – 6 / 10. Muddled morals aside Shaolin is well acted, reasonably well paced (aside from one interminably long 'will she / won't she?' scene that I can't spoil here) and contains a few of the better martial arts sequences filmed in the last few years.