Minha Tia Jovem

Liu Chia-Liang's 1981 martial arts action-comedy is a rather unusual entry in the Shaw Brothers Studio output of kung-fu kick-'em-ups released in the '70s and '80s. "My Young Auntie" has a very strong emphasis on slapstick comedy - which stretches a lot further than I think the material really allows it to - over elaborately staged fighting sequences, which don't really come into play until the film's last half-hour.

Until then, the audience has to sit through a lot of familial comedy, which does not always work, and can make the film a drag. (It's 124 minutes in length, according to the official runtime on the Dragon Dynasty DVD, but it actually clocks in somewhere around 119 minutes.) Even I found the slapstick comedy to bring the film to a halt in some places, which is sometimes alleviated by a well-choreographed, if slapstick, fight scene, which seems more in the vein of Jackie Chan.

But even in the midst of it all, we get one of the very best performances out of its lead actress, who became one of the more noteworthy female martial arts action stars of her era. In the film, Tai-Nan Cheng (Kara Hui, credited here by her birth name, Hui Ying-Hung) is the dedicated servant of a dying elderly patriarch who marries him to prevent his inheritance from falling into the hands of his greedy brother Yu Yung-Sheng (Wang Lung-Wei). And of course, she butts heads with her new in-laws, even as she continually clashes with Yu Yung-Sheng's band of hired martial arts-trained hoodlums.

"My Young Auntie" primarily suffers from an overly long running time, which causes the slapstick comedy bits to wear themselves out pretty quickly and leaves you waiting for the fighting to begin. Perhaps if "My Young Auntie" was shorter, this could have worked. But what keeps you watching, really, is the dashing lead performance of Kara Hui, who had no prior martial arts background (she was a dancer), but relied on her physicality and grace to aid her in the film's fight scenes. And this also means that she is a great actress, too, and is easy on the eyes. In short, Kara Hui really carries this film.

All in all, if you're in the mood for a kung-fu movie that's slightly different from so many of the others, then give "My Young Auntie" a spin - if for nothing else, to watch Kara Hui in action.

7/10

'My Young Auntie (1981)' tells the tale of a young woman who marries her much older master - as an act of respect to repay his kindness, rather than romance - and goes to stay with his oldest brother's son after he passes away in order to make sure his inheritance doesn't fall into the hands of his no-good youngest brother, as per his controversial final wishes. Naturally, her nephew-by-marriage is much older than she is, hence the title. In fact, she's about the same age as her nephew's son, even though she's technically his grand-auntie and therefore significantly more senior than him in terms of the family dynamic. Beyond a few expected age-related gags, most of the conflict - and comedy - comes from traditionalism vs modernism. The eponymous auntie represents somewhat of an oxymoron: she's young, but she's old-school. Her college-age grandnephew, who studies English in Hong Kong and is an advocate for being trendy (as well as calling his father "daddy"), clashes with her old-fashioned sensibilities (which much more closely align with those of his dad) and struggles to accept her as his senior. It helps, of course, that she can kick ass like the best of them, capable of putting anyone who calls her a "bumpkin" in their place and holding her own against hoards of horny young men or malicious money-grubbing relatives.

As to be expected from something directed by - and starring - Lau Kar-leung, the fight choreography is absolutely spectacular. It is, of course, the highlight of the entire affair, and it comes to a crescendo in an extended final battle that's totally jaw-dropping in its fast-paced fervour. The athleticism of the performers is nothing short of miraculous, and the direction perfectly frames each and every moment of scrumptious action impeccably. It strikes the perfect balance between one-on-one and one-on-many, hand-to-hand and weapon-to-weapon. It's the kind of stuff that's more ballet than brutal, a precise dance that uses the context of battle to showcase the beauty of its martial arts. There are fun set-pieces elsewhere in the film that make good use of comedic timing within their frenetic action, but it's the propulsive and eye-widening display of Kung fu prowess that is the third act where things really pop off.

Sadly, it also contains the biggest disappointment of the entire affair. The brilliant Kara Wai's Cheng Tai-Nan, the feature's strong-willed and strong-fisted protagonist, spends the second half of the last movement tied up. This is especially frustrating considering how front and centre she is for the rest of the picture, a force to be reckoned with who constantly has the upper hand on the men around her. Having her in the lead role is great not only for female representation (even though there are a couple of moments of objectification), but also for the film as a whole: she's easily the most interesting and commanding character, and - at least prior to the final stretch - she kicks the most butt in the entire movie. To make things worse, the movie takes her out of the equation by having her fall into the role of 'damsel in distress' (albeit stoic 'damsel in distress'), which is really unsatisfying and runs counter to almost everything we've seen before. The last segment of action instead mostly focuses on four old men, three of whom only come into the narrative as it heads into its last segment, and it's just a really odd decision. The director himself takes centre stage during this part of the picture, and it almost feels a little vain for him to do so. However, the fact that he's an established expert martial artist who can impress just as much as - if not more than - the rest of his cast certainly helps alleviate this vibe. After all, if you're going to show off, you better have the skills to do so; Lau Kar-leung certainly does. Still, having the actual hero be out of action for the final bout leaves a notably sour taste in the mouth, no matter how stunning the climactic set-piece is.

However, the film is really enjoyable despite this major flaw. It's light-hearted fun with a nice blend of comedy and action. It's essentially a family drama for its majority, with the unconventional dynamics between its eponymous Auntie and her new relatives providing plenty of opportunity for misadventure before the stakes get more conventional in the siege-based final third. It's a little bit too long for what it is (it's nearly two hours), and its pacing is a somewhat strained. It's very backloaded in terms of its best action, even if there are plenty of entertaining fights sprinkled throughout its first half, and there's a sense that it's spinning its wheels somewhat during its midsection. Some of its humour works well, but quite a lot of it falls fairly flat. A few of its characters, particularly the grandnephew, are rather annoying for a lot of its runtime, too. Plus, the subtitles on the version I watched included an unpleasant surprise in the form of a homophobic slur. I'm not sure if that's present in all versions or if that's even what's actually said, but I'm not a fan regardless. The nicer surprise is a cameo from Gordon Liu, who not only wears a regular wig but also wears a big fluffy wig when his character dresses up for a masquerade party. Ultimately, this is an entertaining and engaging martial arts movie that has some issues but mostly overcomes them. It isn't as emotionally engaging or as pacy as the best in its genre, but it's fun enough for what it is and includes some stunning fight sequences.

This film is a fine example of why the Shaw Brothers are among the finest directors (probably the best in the Kung Fu category). The movie is well paced, the story is excellent and intriguing, and while the humor may not be in your face, it is nested within the character interactions. Once the story builds up, and the characters begin to assess the situation does the whole tower come crashing down in one of the best fight scenes (tiger, crane and crab Hung Gar are very present). There is even a scene that mocks 18th century Western social events, and ends with clever and entertaining fighting. The movie ends with a sudden, cheesy moment, but if you are a fan of the Shaw Brothers, you'll understand that the cheese is just a topping, and not the main course of the movie.

"My Young Auntie" seems to be considered a minor kung fu classic by some people, and indeed it has a lot to admire: Kara Hui is a marvel to watch in action (with each new film I see her in, I become more and more convinced that she must be one of the 5 greatest female fighters in movie history; she is also underrated in terms of beauty), Hsiao Hou makes a very compatible and playful partner / rival for her, and old-school kung fu fans are sure to get a kick out of the final fight between Liu Chia Liang and his "evil" relative. The problem is that the film barely has enough story for 14 minutes, and yet it goes on for 114! Needless to say, it feels overlong. The last half hour is non-stop fighting: this may sound good in theory, but in this case it becomes repetitive, perhaps even exhausting. Also, it's a little weird that the central character, the Auntie of the title, is almost completely written off the action during the finale. (**1/2)

I'd recommended that you don't watch My Young Auntie before spending more time on the films of Shaw Brothers , Chan Chen, and Chia-Liang Liu, from the late 70s and early 80s.

There is so much to be appreciated in this movie; the story, choreography, and cast that is (or could be) better appreciated when you get all the usual kung fu fair under your belt and get to see the cast in much light-hearted roles than usual.

This isn't an East vs East, clan vs clan, mysterious white bearded villainous master driven tale. The simplest (and forgive me for maybe not the most accurate) way to describe this film is if the team behind the production wanted to make My Fair Lady and West Side Story with a Kung Fu take.

The fact that that there is no killing or brutal acts makes for a different type of fighting and choreography that revels in the skill and ingenuity of the performers involved.

It truly deserves its place in the top tier of Kung Fu movies.