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Back in 1975, Ho Meng Hua introduced his cool but deadly decapitating flying machine and caused a sensation. But the problematic official sequel didn’t really take off till 1978, a very long time for a follow-up. For a start, Ho was too busy with other projects like “Black Magic”, “The Mighty Peking Man” and “Vengeful Beauty”. Conversely, in 1976 both Chen Kuan Tai and Liu Wu Chi were keen to reprise their roles but Liu unexpectedly disappeared from the movie industry altogether but they quickly replaced her with Hsiao Yao.

Then in late 1967, leading man Chen abruptly left Shaw Brothers, and if that was not enough, Hsiao Yao also left the studio. At this point and not wanting to abandon the project, they signed up Ti Lung to take over Chen as Ma Teng and the role of his wife went to Chen Szu Chia. Meanwhile, the original director Cheng Kang (“14 Amazons...

Although this gruesome action drama with a touch of horror was a huge success after its premiere, “Flying Guillotine 2” the problematic official sequel directed by Cheng Kang and Hua Shan and starring Ti Lung didn’t get released till 1978. In the meantime, Jimmy Wang Yu was quick to follow up with his action packed but outrageous “Master of the Flying Guillotine” in 1976.

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Set in the Qing Dynasty, Emperor Yung Cheng (Chiang Yang) uses military force and fear to maintain peace and order as well as make sure that no one dares to oppose him. Meanwhile, after being inspired by a diabolo, a sort of Chinese yo-yo gadget operated by using a rope, his trusted royal servant Xin Kang (Ku Feng) eventually develops the flying guillotine, a killing machine which can chop anyone’s head clean off even from a hundred yards away. Furthermore, twelve men...

The Boxer from Shantung

Directed by Chang Cheh and Pao Hsueh Lieh

Written by Chang Cheh and Ni Kuang

Hong Kong, 1972

Anyone who has seen just a few Shaw martial arts films has noticed a trend: all of the stories transpire centuries ago, during the era of the many Chinese dynasties. The beautiful costumes, the intricate set designs, the legendary figures upon which writers and directors can find inspiration, the admiration of tactical warfare during the times, all of these and much more are reasons why the studio chose to set its stories in the distant past. As with all rules, there are exceptions. Just as not every single Shaw film is martial arts based, not every one is a period piece either. This week, the column takes a look at yet another Chang Cheh picture, The Boxer From Shantung, although this one is set in the 20th century in the city of Shanghai.