venoms5
12-08-2007, 01:32 PM
HEROIC ONES 1970- aka 13 SONS OF THE YELLOW DRAGON Act. ****/blood ****/Movie *****
David Chiang, Ti Lung, Ku Feng, Wang Chung, Chin Han, Chen Sing
***SPOILERS AHEAD***
A Feudal lord and his 13 sons wage war against rebel invaders and enemy opposition. The two most decorated sons inadvertently begat jealousy and greed amongst some of the other brothers culminating in a bloody and violent clash pitting brother against brother in one of the most famous Chinese action films ever.
Chang Cheh directs this first film in his 'cast of thousands' series of films. Comparable to Shakespearean tragedy, the film features many elements inherent in the Bards works. Cheh was known for his masculine style of moviemaking which he became famous for as well as stirring up controversy about the homo-erotic undercurrents in all his films, some more subtle than others. Here, Award winning actor Ku Feng (HAVE SWORD WILL TRAVEL, VENGEANCE!) loves all his sons but pays special attentions to Chun Hsiao (Chiang) and Ching Hsu (Ti Lung). Both are the strongest and most skilled of the 13 brothers but two of their siblings (James Nam & Wang Chung) are not happy about the accolades awarded them.
One scene in particular has seven of the thirteen infiltrate an enemy encampment and attempt an assassination on a rebel leader in an effort to force their soldiers out of the area. Chun Hsiao has the plan laid out but the two jealous brothers decide to employ their own plan resulting in a massive attack with the seven men fighting against hundreds upon hundreds of soldiers. The brothers manage to take refuge in the home of a kindly gardener and his granddaughter. Ultimately, the two resentful brothers escape the fortress after having their forced rape on Lily Li interrupted by Chun Hsiao. The other five also plan a careful getaway. Upon their return to the enemy encampment with the addition of hundreds of reinforcements, Chun Hsiao discovers that the young girl and her grandfather have presumably been killed along with many other villagers.
Cheh excels in these scenes and proves himself capable at handling big action sequences ably assisted by his then chief action choreographer Liu Chia Liang. The set pieces concocted by Liu and company are mind boggling in there enormity and watching them, one can make a complete assessment of how much the action stylings changed over the years. In later films, the fights were concentrated on a limited number of performers all executing precise and beautifully orchestrated movements. Yet, in these earlier films, especially those of master filmmaker Chang Cheh, he paints a sprawling canvas of countless combatants waging a widescreen war that rivals many of Hollywood's period pictures.
A number of fans dislike this period of HK filmmaking preferring the later, post '77 period in which the fights had a more choreographed feel to them as opposed to the bashers and sword films, but one has to appreciate the epic feel that Chang brings to the table here. The action scenes are stupendous and for the time, were considered extremely accomplished. Seeing them now, they're slower than the films from the late 70s on, but they possess a realism lacking in the more choeographed films that a lot of fans seem to prefer. Chang would also handle grand action with THE WATER MARGIN (1972), ALL MEN ARE BROTHERS (1973), BOXER REBELLION (1975), SEVEN MAN ARMY (1976) and to a slightly lesser extent with MARCO POLO (1975) and THE BRAVE ARCHER (1977). His NAVAL COMMANDOS (1977) had the potential for a big epic feel but given the box office response granted his superb SEVEN MAN ARMY (1976) and the spectacular but flawed BOXER REBELLION (1975), Shaw's decided that a bigger budget with a lesser return was a no-win scenario so the big movies went by the wayside thus making way for the smaller, more compact straight kung fu pictures. Successful and popular movies such as HEROIC ONES would further cement Chang Cheh, David Chiang and Ti Lung as a force to be reckoned with at the time and had Bruce Lee worked with Shaw's, I wonder what kind of incredible entertainment would have been the result?
David Chiang is superb as the tough and highly skilled Chun Hsiao, the youngest of the kings 13 sons. His performance would mirror others Chiang would undertake in later Cheh martial chivalry movies. With his slight and slender build, Chiang is always shown as an extremely strong and powerful adversary taking on fighters much bigger than he. Here, he uses a very large and thick double spear. It takes two men to carry it but Chiang wields it like it was a feather. Although Chiang studied martial arts, he seldom looked believable in kung fu roles but was perfectly suited to swordplay movies. Some kung fu pictures where he does look good are SHAOLIN MANTIS (1978), LEGEND OF THE 7 GOLDEN VAMPIRES (1974) and the non-Shaw, THE LOOT (1981).
Ti Lung also impresses as the equally strong Shih Ching Hsu. The scene where he tries to get his father out of the burning castle alive amidst thousands of soldiers is one of the most thrilling action set pieces period regardless of genre. This extended scene goes on for nearly 15 minutes. Ti Lung studied Wing Chun kung fu, a style Bruce Lee practiced. Ti was the more masculine of the mega popular Chiang-Lung double act. The movies these two did with Chang Cheh caused the trio to be known as 'The Iron Triangle' as it seemed this triumvirate was an almost unstoppable box office force with each succeeding release including such favorites and important entries such as HAVE SWORD WILL TRAVEL (1969), THE DUEL (1969), VENGEANCE! (1970) and THE NEW ONE ARMED SWORDSMAN (1971). Both actors are in top form here and get to show off in numerous memorable scenes some of which are discussed below.
At the opening, an enemy general (Bolo Yeung) is slaughtering the kings men so the Ambassador demands something be done. All of his sons are assembled as the king proclaims any of his 13 can bring in the general alone. Chun Hsiao is selected by the Ambassador even though he is drunk and asleep. Chu Wan, the Ambassador, bets his royal belt from the Emperor that Chun cannot bring in the marauding General by noon. Chun bets his head in return. Anyway, Chun easily defeats the general and drags him by his neck on a rope with one arm(!) into the Palace ballroom for all to see. Everyone laughs as Chu Wan must now hand over his royal belt. He refuses so Chun cuts the belt in half telling the Ambassador, "I've left you half...be satisfied!" This is an unforgivable embarrassment for Chu and sets in motion his vendetta against the kings youngest and strongest son.
Without doubt the best scene in the whole movie is the aforementioned sequence where the king (Ku Feng) is invited to a dinner with one of the Ambassadors (Chen Sing, who is secretly in cahoots with the enemy). they get them all drunk and attempt to kill them while they sleep. The plan nearly works and Chu Wan (Chen Sing) has his fortress set aflame(!) to make sure none of them escape. Not to mention employing special assassins under the "Bridge of Peace" to kill them should they make it that far. One of the most suspenseful, bloody and exciting martial arts sequences ever filmed. A nicely done miniature of Chu Wan's fortress is utilized for the mass burning shot although once Ti Lung and Ku Feng have made it to the bridge, the flames seem to have diminished replaced by thick smoke. You barely even notice this due to the bloody action going on all around the participants. Here as in many of his other movies (and particularly his pre-77 output) Cheh perfectly captures the excruciating death throes of his champions as they cling on to their last breath in an effort to slaughter as many treacherous foes as possible amidst a slow motion ballet of an agonizing demise.
This film also features one of the most shocking death scenes ever seen in any Shaw Brothers production or any HK film for that matter. And even though the scene is incredibly brutal and sadistic in its violence, it's done in a most poetic and imaginative fashion revealing Chang Cheh as a stunningly ghastly cinematic artist. Other films from Chang that feature an operatic orchestra of bloody death include VENGEANCE! (1970), THE BOXER FROM SHANTUNG (1972) and DISCIPLES OF SHAOLIN (1975).
The principle villains essayed by Nan Kung Hsun as Li chun Hsin and Wang Chung as Kang Chun Li are Shakespearean in nature contributing heavily to Chang Cheh's typically tragic heroes whose downfall are generally foreshadowed from the beginning. Nan had the perfect weasely look about him and villain roles suited him in films such as LADY WITH A SWORD (1971), KING BOXER (1972) and THE THUNDERBOLT FIST (1972). Ditto for Wang Chung who could comfortably play either a hero or a villain with ease. In HEROIC ONES, both of these officious men desire a chance for the spotlight as well as wealth and power bringing about the inevitable clash against the two more successful sons of the king, Ching Hsu and Chun Hsiao.
Also on hand is Yang Tze (Bolo Yeung) in a brief role as general Meng. Bolo was never given much chance to shine in Shaw Brothers movies save for a rather meaty role in the simultaneously violent and funny THE RESCUE (1971). Bolo, with his massive size, would mainly be required to make the main stars look good as is the case in THE DEADLY DUO (1971), MAN OF IRON (1972) and ALL MEN ARE BROTHERS (1973).
Oddly enough, the Chinese Charles Bronson, Chen Sing doesn't do any fighting at all here but instead portrays the devious Ambassador Chu Wan, a key player in the mental demise of King Li and the brutal deaths of some of his sons. Even still, his performance here is a good one and comes off far more memorable than he would have had he played a fighting role. At this stage of his career, he wasn't getting much room to truly shine and usually got killed off after one or two scenes.
The music utilized for HEROIC ONES (1970) is excellent and suits the film perfectly. The main theme sounds like it was taken from a spaghetti western. The tune has appeared in numerous other movies over the years like MONKEY KUNG FU (1980) and HEROES OF SHAOLIN (1979?). The other cues also fit the various set pieces to a tea and this is one kung fu film score I'd love to get ahold of.
The only real mis-step is that the audience doesn't get to know the other brothers very much at all. Aside from their different costumes, they are fairly interchangeable and when they figure into the finale, their scenes lack the emotional punch of earlier sequences. A somewhat minor quibble, this is availed by a final shot of Chin Han observing the carnage around him then shouting, "Thirteen brothers...Thirteen Heroes!" before thrusting his bloody sword into the ground allowing the two sibling betrayers some dignity in death.
A highly recommended actioner with much poignancy and great performances by all. A must for any David Chiang or Ti Lung fan as well as any serious fan of Chang Cheh and HK cinema.
David Chiang, Ti Lung, Ku Feng, Wang Chung, Chin Han, Chen Sing
***SPOILERS AHEAD***
A Feudal lord and his 13 sons wage war against rebel invaders and enemy opposition. The two most decorated sons inadvertently begat jealousy and greed amongst some of the other brothers culminating in a bloody and violent clash pitting brother against brother in one of the most famous Chinese action films ever.
Chang Cheh directs this first film in his 'cast of thousands' series of films. Comparable to Shakespearean tragedy, the film features many elements inherent in the Bards works. Cheh was known for his masculine style of moviemaking which he became famous for as well as stirring up controversy about the homo-erotic undercurrents in all his films, some more subtle than others. Here, Award winning actor Ku Feng (HAVE SWORD WILL TRAVEL, VENGEANCE!) loves all his sons but pays special attentions to Chun Hsiao (Chiang) and Ching Hsu (Ti Lung). Both are the strongest and most skilled of the 13 brothers but two of their siblings (James Nam & Wang Chung) are not happy about the accolades awarded them.
One scene in particular has seven of the thirteen infiltrate an enemy encampment and attempt an assassination on a rebel leader in an effort to force their soldiers out of the area. Chun Hsiao has the plan laid out but the two jealous brothers decide to employ their own plan resulting in a massive attack with the seven men fighting against hundreds upon hundreds of soldiers. The brothers manage to take refuge in the home of a kindly gardener and his granddaughter. Ultimately, the two resentful brothers escape the fortress after having their forced rape on Lily Li interrupted by Chun Hsiao. The other five also plan a careful getaway. Upon their return to the enemy encampment with the addition of hundreds of reinforcements, Chun Hsiao discovers that the young girl and her grandfather have presumably been killed along with many other villagers.
Cheh excels in these scenes and proves himself capable at handling big action sequences ably assisted by his then chief action choreographer Liu Chia Liang. The set pieces concocted by Liu and company are mind boggling in there enormity and watching them, one can make a complete assessment of how much the action stylings changed over the years. In later films, the fights were concentrated on a limited number of performers all executing precise and beautifully orchestrated movements. Yet, in these earlier films, especially those of master filmmaker Chang Cheh, he paints a sprawling canvas of countless combatants waging a widescreen war that rivals many of Hollywood's period pictures.
A number of fans dislike this period of HK filmmaking preferring the later, post '77 period in which the fights had a more choreographed feel to them as opposed to the bashers and sword films, but one has to appreciate the epic feel that Chang brings to the table here. The action scenes are stupendous and for the time, were considered extremely accomplished. Seeing them now, they're slower than the films from the late 70s on, but they possess a realism lacking in the more choeographed films that a lot of fans seem to prefer. Chang would also handle grand action with THE WATER MARGIN (1972), ALL MEN ARE BROTHERS (1973), BOXER REBELLION (1975), SEVEN MAN ARMY (1976) and to a slightly lesser extent with MARCO POLO (1975) and THE BRAVE ARCHER (1977). His NAVAL COMMANDOS (1977) had the potential for a big epic feel but given the box office response granted his superb SEVEN MAN ARMY (1976) and the spectacular but flawed BOXER REBELLION (1975), Shaw's decided that a bigger budget with a lesser return was a no-win scenario so the big movies went by the wayside thus making way for the smaller, more compact straight kung fu pictures. Successful and popular movies such as HEROIC ONES would further cement Chang Cheh, David Chiang and Ti Lung as a force to be reckoned with at the time and had Bruce Lee worked with Shaw's, I wonder what kind of incredible entertainment would have been the result?
David Chiang is superb as the tough and highly skilled Chun Hsiao, the youngest of the kings 13 sons. His performance would mirror others Chiang would undertake in later Cheh martial chivalry movies. With his slight and slender build, Chiang is always shown as an extremely strong and powerful adversary taking on fighters much bigger than he. Here, he uses a very large and thick double spear. It takes two men to carry it but Chiang wields it like it was a feather. Although Chiang studied martial arts, he seldom looked believable in kung fu roles but was perfectly suited to swordplay movies. Some kung fu pictures where he does look good are SHAOLIN MANTIS (1978), LEGEND OF THE 7 GOLDEN VAMPIRES (1974) and the non-Shaw, THE LOOT (1981).
Ti Lung also impresses as the equally strong Shih Ching Hsu. The scene where he tries to get his father out of the burning castle alive amidst thousands of soldiers is one of the most thrilling action set pieces period regardless of genre. This extended scene goes on for nearly 15 minutes. Ti Lung studied Wing Chun kung fu, a style Bruce Lee practiced. Ti was the more masculine of the mega popular Chiang-Lung double act. The movies these two did with Chang Cheh caused the trio to be known as 'The Iron Triangle' as it seemed this triumvirate was an almost unstoppable box office force with each succeeding release including such favorites and important entries such as HAVE SWORD WILL TRAVEL (1969), THE DUEL (1969), VENGEANCE! (1970) and THE NEW ONE ARMED SWORDSMAN (1971). Both actors are in top form here and get to show off in numerous memorable scenes some of which are discussed below.
At the opening, an enemy general (Bolo Yeung) is slaughtering the kings men so the Ambassador demands something be done. All of his sons are assembled as the king proclaims any of his 13 can bring in the general alone. Chun Hsiao is selected by the Ambassador even though he is drunk and asleep. Chu Wan, the Ambassador, bets his royal belt from the Emperor that Chun cannot bring in the marauding General by noon. Chun bets his head in return. Anyway, Chun easily defeats the general and drags him by his neck on a rope with one arm(!) into the Palace ballroom for all to see. Everyone laughs as Chu Wan must now hand over his royal belt. He refuses so Chun cuts the belt in half telling the Ambassador, "I've left you half...be satisfied!" This is an unforgivable embarrassment for Chu and sets in motion his vendetta against the kings youngest and strongest son.
Without doubt the best scene in the whole movie is the aforementioned sequence where the king (Ku Feng) is invited to a dinner with one of the Ambassadors (Chen Sing, who is secretly in cahoots with the enemy). they get them all drunk and attempt to kill them while they sleep. The plan nearly works and Chu Wan (Chen Sing) has his fortress set aflame(!) to make sure none of them escape. Not to mention employing special assassins under the "Bridge of Peace" to kill them should they make it that far. One of the most suspenseful, bloody and exciting martial arts sequences ever filmed. A nicely done miniature of Chu Wan's fortress is utilized for the mass burning shot although once Ti Lung and Ku Feng have made it to the bridge, the flames seem to have diminished replaced by thick smoke. You barely even notice this due to the bloody action going on all around the participants. Here as in many of his other movies (and particularly his pre-77 output) Cheh perfectly captures the excruciating death throes of his champions as they cling on to their last breath in an effort to slaughter as many treacherous foes as possible amidst a slow motion ballet of an agonizing demise.
This film also features one of the most shocking death scenes ever seen in any Shaw Brothers production or any HK film for that matter. And even though the scene is incredibly brutal and sadistic in its violence, it's done in a most poetic and imaginative fashion revealing Chang Cheh as a stunningly ghastly cinematic artist. Other films from Chang that feature an operatic orchestra of bloody death include VENGEANCE! (1970), THE BOXER FROM SHANTUNG (1972) and DISCIPLES OF SHAOLIN (1975).
The principle villains essayed by Nan Kung Hsun as Li chun Hsin and Wang Chung as Kang Chun Li are Shakespearean in nature contributing heavily to Chang Cheh's typically tragic heroes whose downfall are generally foreshadowed from the beginning. Nan had the perfect weasely look about him and villain roles suited him in films such as LADY WITH A SWORD (1971), KING BOXER (1972) and THE THUNDERBOLT FIST (1972). Ditto for Wang Chung who could comfortably play either a hero or a villain with ease. In HEROIC ONES, both of these officious men desire a chance for the spotlight as well as wealth and power bringing about the inevitable clash against the two more successful sons of the king, Ching Hsu and Chun Hsiao.
Also on hand is Yang Tze (Bolo Yeung) in a brief role as general Meng. Bolo was never given much chance to shine in Shaw Brothers movies save for a rather meaty role in the simultaneously violent and funny THE RESCUE (1971). Bolo, with his massive size, would mainly be required to make the main stars look good as is the case in THE DEADLY DUO (1971), MAN OF IRON (1972) and ALL MEN ARE BROTHERS (1973).
Oddly enough, the Chinese Charles Bronson, Chen Sing doesn't do any fighting at all here but instead portrays the devious Ambassador Chu Wan, a key player in the mental demise of King Li and the brutal deaths of some of his sons. Even still, his performance here is a good one and comes off far more memorable than he would have had he played a fighting role. At this stage of his career, he wasn't getting much room to truly shine and usually got killed off after one or two scenes.
The music utilized for HEROIC ONES (1970) is excellent and suits the film perfectly. The main theme sounds like it was taken from a spaghetti western. The tune has appeared in numerous other movies over the years like MONKEY KUNG FU (1980) and HEROES OF SHAOLIN (1979?). The other cues also fit the various set pieces to a tea and this is one kung fu film score I'd love to get ahold of.
The only real mis-step is that the audience doesn't get to know the other brothers very much at all. Aside from their different costumes, they are fairly interchangeable and when they figure into the finale, their scenes lack the emotional punch of earlier sequences. A somewhat minor quibble, this is availed by a final shot of Chin Han observing the carnage around him then shouting, "Thirteen brothers...Thirteen Heroes!" before thrusting his bloody sword into the ground allowing the two sibling betrayers some dignity in death.
A highly recommended actioner with much poignancy and great performances by all. A must for any David Chiang or Ti Lung fan as well as any serious fan of Chang Cheh and HK cinema.