There's no missing the fact that we're launched into the plot as soon as the film begins. It's fair to wonder how much a language barrier might further that slant, as translating the complexity of the Chinese language to English for subtitles isn't without its stumbling blocks; moreover, there are unquestionably elements of a picture written and designed in one culture that just don't come across with the same meaning for another culture. All this is to say that 'Finger of doom' feels extraordinarily direct in its storytelling (even in its scene writing and plot development), and moreover is built with a rather brisk pace even within each scene itself. Even the direction, editing, and cinematography carry this ethos at many points, and I can't help but think that the picture would have benefited from a bit more of a delicate and nuanced touch, and a measure of restraint, to allow the proceedings to manifest, breathe, and resolve of their own accord.
Be that as it may, it's not for nothing that the Shaw Brothers have the reputation that they do as a legendary studio for martial arts flicks. While this isn't without its faults in terms of the fundamental construction, in all the ways we expect and hope, it's very well done and enjoyable, if not as resoundingly vibrant as some of the company's many other productions. Such fare out of Hong Kong, especially in the 70s and 80s, usually bears a common look and feel, and this fits right in among that company. The sets are flush with detail and are downright gorgeous; costume design, props, and weapons are no more than a half-step behind. Fu-Liang Chou's dramatic score is a delight, ably lending to the mood of any given moment, and the sound effects are plainly terrific. Though the overall tenor is a tad overzealous, Hsueh-Li Pao's arrangement of shots as director, and the cinematography that was a joint effort of Pao and Ting-Bang Yuan, reflect a keen sense of artistry that lends some spirit to the feature. Moreover, the cinematography is wonderful lively and dynamic (if sometimes too much so), at its best helping to immerse us in the viewing experience. And while the stunts, effects, and action sequences are not necessarily as predominant in 'Finger of doom' as in other contemporary titles, those that we do get are reliably outstanding, and indisputably a key highlight of these ninety minutes that makes it all well worth exploring.
Weirdly, the pacing of plot development is a tad more relaxed than the gait of each individual scene, and for that fact there's a fair bit of the runtime for which one must work to stay engaged. Where the movie chooses to deemphasize action, it instead spotlights an air of horror and mystery in its storytelling, and along the way crafts welcome measures of tension and unsettled atmosphere. I don't think the narrative bears a cohesiveness that's wholly steady and consistent throughout the length, but it's complete and coherent nonetheless, not to mention strongly compelling. Furthermore, while this is uneven in various ways, all the many parts do ultimately gel, with the latter part of the picture surely being the best of all in every regard. Whether one wants to say "the last half" or "the last third," 'Finger of doom' builds its strength over time, and to whatever extent it was troubled or deficient earlier on, we're treated to a superb finish. In fact, to put it simply, had earlier scenes been as sharp and focused as the last stretch, I've no doubt that this 1972 film would be marked with greater esteem and recognition than it is.
It's not so special as to utterly demand viewership; it's entertaining, but not impeccable. There's just one thing we want out of the Shaw Brothers, however, and we definitely get it. The martial arts action is fantastic, the title looks and sounds as good as any of its brethren, it's an all around good time. While 'Finger of doom' may not be a total must-see, in my opinion it's well worth checking out if one has the chance, and I'm happy to give it a solid recommendation.
