venoms5
02-21-2008, 04:47 PM
SHAOLIN MARTIAL ARTS 1974 Act. ****/Blood **1/2 /Movie *****
Directed by Chang Cheh
Fu Sheng (Li Yao), Chi Kuan Chun (Bao Rong), Liang Chia Jen (Ba Gang), Wang Lung Wei (Yu Bi), Lu Ti (Lin San Tin), Chiang Tao (Wu Chung Ping), Feng Ko An (He Lian), Liu Chia Hui (Brother Ho), Tang Yen San (Brother Mai), Tino Wong (Wang Jing-he), Yuen Hsiao Tien (Master Lung), Feng I (Master Liang), Chiang Nan (Eagle Claw Master), Chen Yi Ling (Zhen Shu), Yuen Man Chi (Ah Wei), Liu Chia Yung (Brother Law)
***SPOILERS AHEAD***
Some time after hostilities have ceased between Shaolin and the Manchu's, the Court still views them as a possible threat if they are allowed to thrive. During an annual God of Chivalry ceremony, a heated incident between both Chinese and Manchu worshippers leads to a brawl after one of the Shaolin students is stabbed from behind. Inevitably the Qing court covers up the murder calling it a gang fight and nothing more. Predicting an uprising, the Qing court sends for two Manchu specialists; One proficient in internal powers and the other a master of the Iron Skin technique. After a deadly encounter with the Qing experts, the Shaolin students disband and head off to learn styles to topple the Qing killers. But when the two chosen fighters are ultimately killed in a duel and the remaining students summarily slaughtered, only two manage to survive and seek out masters of secret styles that can overcome the Manchu practitioners. Once learned in the deadly arts of Wing Chun and Tiger Crane kung fu, the two lone disciples meet for a final duel to avenge the wrongs done to the followers of Shaolin.
Chang Cheh directs what is my favorite of his Shaolin cycle of kung fu films. Chang perfectly melds action, drama, suspense and a little bit of romance laced with a very nice stock soundtrack to create one of his best and most controlled directorial efforts of his career. Part of Chang's Film Company, a filmmaking outfit independent of Shaw but distributed and financed by Shaw Brothers utilizing funds that could not be extradited from Taiwan. Set up in 1973, Chang Cheh managed to direct around a dozen films during his Taiwanese tenure before closing it down in 1976 when he returned to Shaw's full time as well as enabling him to finish a number of the films started in Taiwan. According to Chang's memoirs, SHAOLIN MARTIAL ARTS (1974) was his inspiration for the "Xiao Zi", or "Boxing Punk" movies which were officially heralded in Chang's classic DISCIPLES OF SHAOLIN (1975).
The fight choreography by the other "Iron Triangle", Tang Chia and Liu Chia Liang creating the action set pieces with Chang Cheh devising the feel of the choreography, the fights here are mesmerizing in their ferociousness and brutal finality. They are handled and executed in such a way that they almost come off as if a real fight could indeed look like this. Liu and Tang created some of the most exciting, rousing and forceful fight sequences of their collaborations with Chang Cheh as well as kung fu cinema period. There's very little in the way of weapons work with the bulk of the action concentrating on hand to hand combat. Some of the most realistic depictions of martial arts fighting techniques I've seen, Chang Cheh ably shows the level of his craftsmanship in handling these scenes bringing out the veracity of the styles on display as well as the fierce emotional nature of the central protagonists during the many duel sequences.
Alexander Fu Sheng adds another hit to his belt here playing Li Yao, one of a group of secular disciples of Shaolin. Fu Sheng was a natural for these sarcastic, mischievous roles which served as the prototype for Jackie Chan's similar buffoonery several years later. Fu plays Li Yao in a psuedo-comic fashion. He is a serious man but carries on with his brothers cracking a joke on occasion. He's more "human" here than his somewhat larger than life portrayals of Fong Si Yu, the role which made him a star first seen in the groundbreaking HEROES TWO (1973). Yet he is also less frivolous than in some later films such as FIVE SHAOLIN MASTERS (1974) and SHAOLIN TEMPLE (1976). Some people complain that Fu only did satirical and mocking roles but he also excelled in serious roles, too. Aside from this film and FRIENDS (1974), Fu was very serious in AVENGING EAGLE (1978), LIFE GAMBLE (1978) and RETURN OF THE SENTIMENTAL SWORDSMAN (1980). I suppose his smug demeanor leaves such an indelible impression with viewers, that it's difficult to discern the man from that persona even when he is attempting something different. Fu had his finest acting role with DISCIPLES OF SHAOLIN (1975) which was a retelling of Chang's BOXER FROM SHANTUNG (1972). A plot line that Chang would again revisit with CHINATOWN KID (1977) and again starring Fu Sheng. Unlike Chang Cheh's other stars, Fu Sheng was given the opportunity to go solo in a film. Actually twice, first in NA CHA, THE GREAT (1974) and again more famously in THE NEW SHAOLIN BOXERS (1976;aka DEMON FISTS OF KUNG FU, GRANDMASTER OF DEATH, CHOY LI FUT). Fu also had ambition to try his hand as a director and helmed some of WITS OF THE BRATS (1984) before his shocking death in a fatal car crash on July 7th of 1983 while starring alongside Gordon Liu in 8 DIAGRAM POLE FIGHTER (1984).
After years of working under Chang Cheh's guidance, Fu would later branch out and work for other directors including Sun Chung and Liu Chia Liang the latter of which would eventually take Fu as a student. Fu referred to Chang Cheh as "Daddy", which gave rise to the notion that Chang had a number of Godsons. In Chang's own words he denounces this saying he was Godfather to no one that this was just rumors. But Fu felt a kinship with Chang and that lasted well after his tenure ended with him. Fu was an actor who possessed diversity and a good comic timing which helped him become one of the best loved and best remembered of Hong Kong Cinemas long lineage of action film stars.
Chi Kuan Chun on the other hand, never really did anything different in his Shaw Brothers movies. He had moments where he would emote but they were few and far between. Fu Sheng even speaks a humorous line early in the film that sums up most all of Chi's performances with--"He only utters words when you prick him...it's a waste of time." Chi plays this same type of character in all of his Chang Cheh films. He is most always the silent yet mature and controlled counterpart to Fu's more carefree and lackadaisical characters. Chi was the learned and intellectual fighter which paired nicely with Fu's often playful and aggressive stance in their films together. Seldom was this formula tampered with. It's not as apparent here as Fu is more controlled compared with later films. Chi made up for his lack of acting ability with a great look and displayed his fighting skills effectively in MEN FROM THE MONASTERY (1974), MARCO POLO (1975), DISCIPLES OF SHAOLIN (1975), SEVEN MAN ARMY (1976) and non Shaw Brothers works EAGLE'S CLAW (1977) and IRON MONKEY (1977). Chi left Shaw Brothers in 1976 to start his own production company and continued acting in many indy films and recently in the Shaw comeback film DRUNKEN MONKEY (2003) as well as SEVEN SWORDS (2005).
Although Fu Sheng is the main star, this being a Chang Cheh film, it's more of an ensemble piece with a number of characters getting their share of screen time. Three men in particular would make their big debuts with SHAOLIN MARTIAL ARTS (1974)--Liu Chia Hui, Liang Chia Jen and Wang Lung Wei. Liu also features briefly in FIVE SHAOLIN MASTERS (1974) as an ill-fated kung fu fighter who gives his life so that one of the heroes can make his escape. Liu was also seen fleetingly in Chang's massive epic BOXER REBELLION (1975) and then in a sizable role as one of the three main villains in Chang's MARCO POLO (1975). Liu would soon hit stardom in a big way after headlining the lead in THE 36TH CHAMBER OF SHAOLIN (1978). Liang Chia Jen was a fan of Chang Cheh's style of filmmaking and when the opportunity arose for tryouts for actors, he impressed director Chang and so he made his first appearance here showcasing a dominating presence looking like a lithe version of Steven Seagal, Liang would soon grow his trademark beard which he seldom appeared without. Liang has added many memorable performances to his resume including MARCO POLO (1975), THUNDERING MANTIS (1979), ODD COUPLE (1979), SECRET SERVICE OF THE IMPERIAL COURT (1984) and DANGER HAS TWO FACES (1985). Wang Lung Wei would also make an impressionable dent in HK cinema becoming one of the islands most celebrated villains and very rarely ever playing a heroic role. His looks perfectly suited his plethora of scoundrel characters. Some of his most noteworthy are INVINCIBLE SHAOLIN (1978), THE MASTER (1980), LION VS LION (1980), TREASURE HUNTERS (1981) and 8 DIAGRAM POLE FIGHTER (1984) among countless others.
Chang Cheh also has two females figure into the story with both playing love interests for both Fu Sheng and Chi Kuan Chun's characters. Chang seldom had room for women in his films unless the script called for a conniving seductress. Granted, the two young girls here do very little apart from act helpless and giggle but their scenes with Fu and Chi lend SHAOLIN MARTIAL ARTS (1974) a feel akin to an old Hollywood production. These scenes work for the film rather than against it adding an extra emotional element to the main characters as well as giving them some added humanity as opposed to the usual Chang Cheh hero who fights for his beliefs and nothing else mindful only of the doom laden task at hand. Chang enjoyed romance and implemented romanticism in a number of his early movies such as THE ASSASSIN (1967), GOLDEN SWALLOW (1968), HAVE SWORD WILL TRAVEL (1969), KING EAGLE (1971) and most blatantly in BOXER REBELLION (1975). Although his films were male dominated, he sometimes allowed his heroes to have relationships with the opposite sex. Yuen Man Chu who plays the naughty trickster Ah Wei adds much to the lighter side of the film. She continuously tortures Li Yao in order to get him to pay attention to her. Li eventually tosses a bucket of water on her which causes her to return the act in kind. Chang handles these lighter moments as good as he handles his usually tense and brutal action scenes. These light and comical scenes add lots of depth to this classy production.
Chang Cheh also peppers his film with a variety of martial arts teachers who train, and in some cases, lead the honorable students to their doom. Each is given their own personality lending the film much diversity and offers up some colorful interpretations. The most famous of the old timers featured here is Yuen Hsiao Tien as Master Lung of the Tiger and Crane styles. Yuen is of course famous for fathering a number of well known sons proficient in martial arts. Known as the Yuen Clan, the most famous of which is Yuen Woo Ping who has performed choreography duties on a number of US productions. Yuen Hsiao Tien plays a grumpy old man whom Fu Sheng must ingratiate himself to in order to learn the Tiger Crane techniques. He is a hard teacher but reveals a compassionate side to his personality as well. He featured in a few Shaw Brothers movies including HEROES OF THE EAST (1978) but his career got a late boost of popularity after appearing in the mediocre but hugely successful SNAKE IN THE EAGLE'S SHADOW (1978) as the teacher to Jackie Chan's character. A teacher who also bears some semblance of a father figure begating a new dichotomy vastly different from the typical teacher-student scenario of countless other films. Yuen was thrust into numerous similar independent films portraying much the same role and with a similar wardrobe--that of a dirty beggar. Between 1978 and 1979 he would appear in over a dozen movies playing the beggar-like teacher to the protagonist. Sadly, Yuen would die while filming WORLD OF DRUNKEN MASTER (1979) resulting in the remainder of his scenes to be shot with another actor.
The main teacher is Lu Ti as Lin San Tin. Even though he unwittingly sends his students to their deaths he is the catalyst by which Li Yao and Bao Rong are able to defeat both Yu Bi and Ba Gang. His fatal mistake is redeemed by the villains ultimate defeat after learning the needed techniques and eventually beating them at their own game. Another teacher is Chiang Nan as the Eagle Claw master. Chiang usually played weasely characters that favored the bad guys and would bring about defeat of the heroes. These types of roles suited him perfectly and it shows in such films as IRON BODYGUARD (1973) in which Chiang Nan was on the receiving end of probably the best and most warranted beat down of a senior citizen in movie history. He also featured briefly in the beginning of WEB OF DEATH (1976) as the nasty owner of the Five Venom Spider weapon shortly before a senior Priest removed him of the devastating device. He also interferes with heroic business in the lackluster TEN TIGERS OF KWANG TUNG (1978-80). Feng I is Master Liang and his silent demeanor is matched only by Chi Kuan Chun's often times mute performance. Just when Bao Rong thinks he has succeeded, master Liang comes along and makes things more difficult for him all the while saying nothing. Bao must continuously punch at a wooden stand using only his finger tips until he is able to puncture the wood. The stand is then moved closer to his body making it more difficult. Once he is able to ring a great bell with just his finger tips, he will have mastered the Wing Chung style. Feng I brings out subtle humor in his performance simply by saying nothing at all. Feng was also one of the Four Axemen in BOXER FROM SHANTUNG (1972).
Even though the Manchu's are clearly the villains, the whole situation could have been avoided had the Shaolin students simply not let pride get in the way of humility by letting the Qing's lead the God of Chivalry ceremony at the outset of the film. Pride and the stubborn, willful vow to overcome and accomplish insurmountable odds are paramount to nearly all of Chang Cheh's 1967-1976 work and SHAOLIN MARTIAL ARTS is no exception. The heroes, with their unmovable egotism bring about their own downfall because they are unwilling or unable to accept wavering from tradition.
This is also the only film in Chang's Shaolin series that I feel successfully depicts the Manchu's as a serious threat to the heroes. In other entries it's generally a regiment of troops attacking all at once or maybe one or two Qing combatants who duel with the good guys during the final battle. However, in FIVE SHAOLIN MASTERS (1974), there are five heroes and five villains but the entire film isn't built around the struggle to overcome the five Qing specialists, at least not until close to the end. The film alternates between frequent fights with the bad guys and the recruitment of patriots to restore the Ming Dynasty. The film is far more comic book in approach and for me, a slightly lesser film than SHAOLIN MARTIAL ARTS (1974). Here, the entire film centers around the plight of the Shaolin students to overcome the supreme skills of the two Manchu fighters. Chang gives much screen time to building the two main antagonists and foreshadows their superiority even before their first confrontation occurs.
The first clash is one of the most suspenseful moments in kung fu film history as Yu Bi's challenge is accepted by Wang Jing-he. He is allowed to strike Yu three times then it's Yu's turn to reciprocate. Upon Wang's first punch, it becomes frighteningly apparent the Shaolin students are painfully outclassed. The scene continues and Wang is hurtled backwards onto the ground. As two friends rush to him, blood pours from his mouth. Knowing now that he is no match for the Qing fighter, Wang stands and accepts his fate. Chang directs this sequence perfectly as after the second blow, it seems that Wang could quite possibly have died right then. But his pride and code of honor allows him to meet his destiny under pain of death being dealt the third and strongest blow, Wang nearly collapses but then stands with the help of two brothers then uttering, "I'll die standing..."
The second major duel is even more interesting. Both Brother Mai and Brother Ho leave to learn two different forms of Eagle Claw kung fu to tackle the Manchu killers. Ho gets to begin learning straight away but Mai must work before being taught the Eagle Claw. Director John G. Avildsen must have seen this movie at some point because he utilizes this motif in his first KARATE KID (1984) in which Ralph Macchio is taught Karate unknowingly through the use of hard labor. His disdain and ignorance for feeling taken advantage of turns to surprise when he realizes he has learned Karate the entire time. This same plot device applies to SHAOLIN MARTIAL ARTS (1974) and plays out in an almost identical fashion. Here, Mai must catch fish with his hands as well as chop trees and strip the bark with his hands. He soon comes to the realization that he has been training all along. In spite of this, Mai is quickly defeated by Yi Bi. At first it appears Mai may actually best him, but he is tricked by Yu Bi's CUNNING as opposed to his skills. Brother Ho meets a similar fate as he is led to believe that the way to defeat Ba Gang is by smashing his groin with a Rolling Eagle Claw strike similar to Pai Mei's defeat. Only Ba's skill level surpasses that of the White Brow Priest and Ho has his legs broken before taking his own life. It could be surmised that both Mai and Ho could have possibly beaten their adversaries had they been equipped with the proper knowledge but the resourcefulness of the antagonists won over martial skills this time.
Once Fu Sheng and Chi Kuan Chun finally take over the film three quarters of the way in, Chang incorporates a split screen technique as both characters ponder how they will tackle their adversaries. At this point, their teacher features along the left side of the screen giving advice lending a very Obi Wan Kenobi feel to the scene and an ingenious and interesting device with which to propel the story. The scene plays in such a way that Teacher Lin probably divulged the info at some earlier time and the shots of him "speaking" to his last two students are possibly remembrances on the protagonists part. Still, it adds an air of otherworldliness to the proceedings. It's possibly the first time such a technique was implemented into a kung fu movie.
It's also at this point that the focus of the film shifts to these last two students of the Shaolin school and their ardent training in the only two techniques that can pose a major threat to the deadly Manchu fighters. Chang handles these scenes extremely well as both Li Yao and Bao Rong hone their skills in Tiger Crane and Wing Chun respectively. With each succeeding scene, the two practitioners get better and better with the tempo of the music building to a crescendo until the final moment in which both men have achieved success and are finally read to take their revenge. What is most interesting about the following scene between the two heroes and their girlfriends is that Li Yao says that his teacher only taught him kung fu and that defeating Ba Gang depends on his own use of the skill. That his skill is equal to that of Ba Gang, not that either style is better than the other, but Li Yao's success depends strictly on how he uses his skills. An interesting take very dissimilar to most other kung fu movies wherein the hero learns the style needed to defeat the main villain and does simply because said style is superior. Here, the treatment of martial skills is not unlike a chess game.
As talked about above, during the final duel, Yu Bi naturally assumes that Bao Rong's skill is going to be no different than any of the other fighters felled before him. This is demonstrated as the two fight and Yu Bi lands the first blow. This leads to Yu motioning for Bao to come at him again. However, with his Wing Chun skills, the outcome is decidedly different from before resulting in probably the first time a shot of someone's intestines being ripped from their stomach was ever shown on film. The fight between Li Yao and Ba Gang also results in a fake out. Li attacks in much the same fashion as Brother Ho did previously only this time Li feigns the blow and attacks with a deadly strike that leaves Ba Gang missing his eyeballs. Then Li attacks with the devastating groin maneuver that finishes his opponent leaving Ba Gang to die in a painful fashion.
A taut, often times harrowing martial arts film filled with the usual Chang Cheh bravado and while it's not as bloody as many of his other movies, the few shots of bloody violence have more impact because of the masterful build Chang allows here. While most fans prefer Chang's FIVE SHAOLIN MASTERS (1974), which to me, resembles a bigger budgeted indy film, SHAOLIN MARTIAL ARTS (1974) has a bit more to say aside from one fight after another. It shows Chang Cheh in fine form creating an amalgamation of martial arts reverence. A true classic from a true master of martial arts filmmaking and a highly recommended film for fans of the genre and maybe even a few that aren't. One of Chang Cheh's best efforts and one that deserves a place in any kung fu fans DVD library.
Directed by Chang Cheh
Fu Sheng (Li Yao), Chi Kuan Chun (Bao Rong), Liang Chia Jen (Ba Gang), Wang Lung Wei (Yu Bi), Lu Ti (Lin San Tin), Chiang Tao (Wu Chung Ping), Feng Ko An (He Lian), Liu Chia Hui (Brother Ho), Tang Yen San (Brother Mai), Tino Wong (Wang Jing-he), Yuen Hsiao Tien (Master Lung), Feng I (Master Liang), Chiang Nan (Eagle Claw Master), Chen Yi Ling (Zhen Shu), Yuen Man Chi (Ah Wei), Liu Chia Yung (Brother Law)
***SPOILERS AHEAD***
Some time after hostilities have ceased between Shaolin and the Manchu's, the Court still views them as a possible threat if they are allowed to thrive. During an annual God of Chivalry ceremony, a heated incident between both Chinese and Manchu worshippers leads to a brawl after one of the Shaolin students is stabbed from behind. Inevitably the Qing court covers up the murder calling it a gang fight and nothing more. Predicting an uprising, the Qing court sends for two Manchu specialists; One proficient in internal powers and the other a master of the Iron Skin technique. After a deadly encounter with the Qing experts, the Shaolin students disband and head off to learn styles to topple the Qing killers. But when the two chosen fighters are ultimately killed in a duel and the remaining students summarily slaughtered, only two manage to survive and seek out masters of secret styles that can overcome the Manchu practitioners. Once learned in the deadly arts of Wing Chun and Tiger Crane kung fu, the two lone disciples meet for a final duel to avenge the wrongs done to the followers of Shaolin.
Chang Cheh directs what is my favorite of his Shaolin cycle of kung fu films. Chang perfectly melds action, drama, suspense and a little bit of romance laced with a very nice stock soundtrack to create one of his best and most controlled directorial efforts of his career. Part of Chang's Film Company, a filmmaking outfit independent of Shaw but distributed and financed by Shaw Brothers utilizing funds that could not be extradited from Taiwan. Set up in 1973, Chang Cheh managed to direct around a dozen films during his Taiwanese tenure before closing it down in 1976 when he returned to Shaw's full time as well as enabling him to finish a number of the films started in Taiwan. According to Chang's memoirs, SHAOLIN MARTIAL ARTS (1974) was his inspiration for the "Xiao Zi", or "Boxing Punk" movies which were officially heralded in Chang's classic DISCIPLES OF SHAOLIN (1975).
The fight choreography by the other "Iron Triangle", Tang Chia and Liu Chia Liang creating the action set pieces with Chang Cheh devising the feel of the choreography, the fights here are mesmerizing in their ferociousness and brutal finality. They are handled and executed in such a way that they almost come off as if a real fight could indeed look like this. Liu and Tang created some of the most exciting, rousing and forceful fight sequences of their collaborations with Chang Cheh as well as kung fu cinema period. There's very little in the way of weapons work with the bulk of the action concentrating on hand to hand combat. Some of the most realistic depictions of martial arts fighting techniques I've seen, Chang Cheh ably shows the level of his craftsmanship in handling these scenes bringing out the veracity of the styles on display as well as the fierce emotional nature of the central protagonists during the many duel sequences.
Alexander Fu Sheng adds another hit to his belt here playing Li Yao, one of a group of secular disciples of Shaolin. Fu Sheng was a natural for these sarcastic, mischievous roles which served as the prototype for Jackie Chan's similar buffoonery several years later. Fu plays Li Yao in a psuedo-comic fashion. He is a serious man but carries on with his brothers cracking a joke on occasion. He's more "human" here than his somewhat larger than life portrayals of Fong Si Yu, the role which made him a star first seen in the groundbreaking HEROES TWO (1973). Yet he is also less frivolous than in some later films such as FIVE SHAOLIN MASTERS (1974) and SHAOLIN TEMPLE (1976). Some people complain that Fu only did satirical and mocking roles but he also excelled in serious roles, too. Aside from this film and FRIENDS (1974), Fu was very serious in AVENGING EAGLE (1978), LIFE GAMBLE (1978) and RETURN OF THE SENTIMENTAL SWORDSMAN (1980). I suppose his smug demeanor leaves such an indelible impression with viewers, that it's difficult to discern the man from that persona even when he is attempting something different. Fu had his finest acting role with DISCIPLES OF SHAOLIN (1975) which was a retelling of Chang's BOXER FROM SHANTUNG (1972). A plot line that Chang would again revisit with CHINATOWN KID (1977) and again starring Fu Sheng. Unlike Chang Cheh's other stars, Fu Sheng was given the opportunity to go solo in a film. Actually twice, first in NA CHA, THE GREAT (1974) and again more famously in THE NEW SHAOLIN BOXERS (1976;aka DEMON FISTS OF KUNG FU, GRANDMASTER OF DEATH, CHOY LI FUT). Fu also had ambition to try his hand as a director and helmed some of WITS OF THE BRATS (1984) before his shocking death in a fatal car crash on July 7th of 1983 while starring alongside Gordon Liu in 8 DIAGRAM POLE FIGHTER (1984).
After years of working under Chang Cheh's guidance, Fu would later branch out and work for other directors including Sun Chung and Liu Chia Liang the latter of which would eventually take Fu as a student. Fu referred to Chang Cheh as "Daddy", which gave rise to the notion that Chang had a number of Godsons. In Chang's own words he denounces this saying he was Godfather to no one that this was just rumors. But Fu felt a kinship with Chang and that lasted well after his tenure ended with him. Fu was an actor who possessed diversity and a good comic timing which helped him become one of the best loved and best remembered of Hong Kong Cinemas long lineage of action film stars.
Chi Kuan Chun on the other hand, never really did anything different in his Shaw Brothers movies. He had moments where he would emote but they were few and far between. Fu Sheng even speaks a humorous line early in the film that sums up most all of Chi's performances with--"He only utters words when you prick him...it's a waste of time." Chi plays this same type of character in all of his Chang Cheh films. He is most always the silent yet mature and controlled counterpart to Fu's more carefree and lackadaisical characters. Chi was the learned and intellectual fighter which paired nicely with Fu's often playful and aggressive stance in their films together. Seldom was this formula tampered with. It's not as apparent here as Fu is more controlled compared with later films. Chi made up for his lack of acting ability with a great look and displayed his fighting skills effectively in MEN FROM THE MONASTERY (1974), MARCO POLO (1975), DISCIPLES OF SHAOLIN (1975), SEVEN MAN ARMY (1976) and non Shaw Brothers works EAGLE'S CLAW (1977) and IRON MONKEY (1977). Chi left Shaw Brothers in 1976 to start his own production company and continued acting in many indy films and recently in the Shaw comeback film DRUNKEN MONKEY (2003) as well as SEVEN SWORDS (2005).
Although Fu Sheng is the main star, this being a Chang Cheh film, it's more of an ensemble piece with a number of characters getting their share of screen time. Three men in particular would make their big debuts with SHAOLIN MARTIAL ARTS (1974)--Liu Chia Hui, Liang Chia Jen and Wang Lung Wei. Liu also features briefly in FIVE SHAOLIN MASTERS (1974) as an ill-fated kung fu fighter who gives his life so that one of the heroes can make his escape. Liu was also seen fleetingly in Chang's massive epic BOXER REBELLION (1975) and then in a sizable role as one of the three main villains in Chang's MARCO POLO (1975). Liu would soon hit stardom in a big way after headlining the lead in THE 36TH CHAMBER OF SHAOLIN (1978). Liang Chia Jen was a fan of Chang Cheh's style of filmmaking and when the opportunity arose for tryouts for actors, he impressed director Chang and so he made his first appearance here showcasing a dominating presence looking like a lithe version of Steven Seagal, Liang would soon grow his trademark beard which he seldom appeared without. Liang has added many memorable performances to his resume including MARCO POLO (1975), THUNDERING MANTIS (1979), ODD COUPLE (1979), SECRET SERVICE OF THE IMPERIAL COURT (1984) and DANGER HAS TWO FACES (1985). Wang Lung Wei would also make an impressionable dent in HK cinema becoming one of the islands most celebrated villains and very rarely ever playing a heroic role. His looks perfectly suited his plethora of scoundrel characters. Some of his most noteworthy are INVINCIBLE SHAOLIN (1978), THE MASTER (1980), LION VS LION (1980), TREASURE HUNTERS (1981) and 8 DIAGRAM POLE FIGHTER (1984) among countless others.
Chang Cheh also has two females figure into the story with both playing love interests for both Fu Sheng and Chi Kuan Chun's characters. Chang seldom had room for women in his films unless the script called for a conniving seductress. Granted, the two young girls here do very little apart from act helpless and giggle but their scenes with Fu and Chi lend SHAOLIN MARTIAL ARTS (1974) a feel akin to an old Hollywood production. These scenes work for the film rather than against it adding an extra emotional element to the main characters as well as giving them some added humanity as opposed to the usual Chang Cheh hero who fights for his beliefs and nothing else mindful only of the doom laden task at hand. Chang enjoyed romance and implemented romanticism in a number of his early movies such as THE ASSASSIN (1967), GOLDEN SWALLOW (1968), HAVE SWORD WILL TRAVEL (1969), KING EAGLE (1971) and most blatantly in BOXER REBELLION (1975). Although his films were male dominated, he sometimes allowed his heroes to have relationships with the opposite sex. Yuen Man Chu who plays the naughty trickster Ah Wei adds much to the lighter side of the film. She continuously tortures Li Yao in order to get him to pay attention to her. Li eventually tosses a bucket of water on her which causes her to return the act in kind. Chang handles these lighter moments as good as he handles his usually tense and brutal action scenes. These light and comical scenes add lots of depth to this classy production.
Chang Cheh also peppers his film with a variety of martial arts teachers who train, and in some cases, lead the honorable students to their doom. Each is given their own personality lending the film much diversity and offers up some colorful interpretations. The most famous of the old timers featured here is Yuen Hsiao Tien as Master Lung of the Tiger and Crane styles. Yuen is of course famous for fathering a number of well known sons proficient in martial arts. Known as the Yuen Clan, the most famous of which is Yuen Woo Ping who has performed choreography duties on a number of US productions. Yuen Hsiao Tien plays a grumpy old man whom Fu Sheng must ingratiate himself to in order to learn the Tiger Crane techniques. He is a hard teacher but reveals a compassionate side to his personality as well. He featured in a few Shaw Brothers movies including HEROES OF THE EAST (1978) but his career got a late boost of popularity after appearing in the mediocre but hugely successful SNAKE IN THE EAGLE'S SHADOW (1978) as the teacher to Jackie Chan's character. A teacher who also bears some semblance of a father figure begating a new dichotomy vastly different from the typical teacher-student scenario of countless other films. Yuen was thrust into numerous similar independent films portraying much the same role and with a similar wardrobe--that of a dirty beggar. Between 1978 and 1979 he would appear in over a dozen movies playing the beggar-like teacher to the protagonist. Sadly, Yuen would die while filming WORLD OF DRUNKEN MASTER (1979) resulting in the remainder of his scenes to be shot with another actor.
The main teacher is Lu Ti as Lin San Tin. Even though he unwittingly sends his students to their deaths he is the catalyst by which Li Yao and Bao Rong are able to defeat both Yu Bi and Ba Gang. His fatal mistake is redeemed by the villains ultimate defeat after learning the needed techniques and eventually beating them at their own game. Another teacher is Chiang Nan as the Eagle Claw master. Chiang usually played weasely characters that favored the bad guys and would bring about defeat of the heroes. These types of roles suited him perfectly and it shows in such films as IRON BODYGUARD (1973) in which Chiang Nan was on the receiving end of probably the best and most warranted beat down of a senior citizen in movie history. He also featured briefly in the beginning of WEB OF DEATH (1976) as the nasty owner of the Five Venom Spider weapon shortly before a senior Priest removed him of the devastating device. He also interferes with heroic business in the lackluster TEN TIGERS OF KWANG TUNG (1978-80). Feng I is Master Liang and his silent demeanor is matched only by Chi Kuan Chun's often times mute performance. Just when Bao Rong thinks he has succeeded, master Liang comes along and makes things more difficult for him all the while saying nothing. Bao must continuously punch at a wooden stand using only his finger tips until he is able to puncture the wood. The stand is then moved closer to his body making it more difficult. Once he is able to ring a great bell with just his finger tips, he will have mastered the Wing Chung style. Feng I brings out subtle humor in his performance simply by saying nothing at all. Feng was also one of the Four Axemen in BOXER FROM SHANTUNG (1972).
Even though the Manchu's are clearly the villains, the whole situation could have been avoided had the Shaolin students simply not let pride get in the way of humility by letting the Qing's lead the God of Chivalry ceremony at the outset of the film. Pride and the stubborn, willful vow to overcome and accomplish insurmountable odds are paramount to nearly all of Chang Cheh's 1967-1976 work and SHAOLIN MARTIAL ARTS is no exception. The heroes, with their unmovable egotism bring about their own downfall because they are unwilling or unable to accept wavering from tradition.
This is also the only film in Chang's Shaolin series that I feel successfully depicts the Manchu's as a serious threat to the heroes. In other entries it's generally a regiment of troops attacking all at once or maybe one or two Qing combatants who duel with the good guys during the final battle. However, in FIVE SHAOLIN MASTERS (1974), there are five heroes and five villains but the entire film isn't built around the struggle to overcome the five Qing specialists, at least not until close to the end. The film alternates between frequent fights with the bad guys and the recruitment of patriots to restore the Ming Dynasty. The film is far more comic book in approach and for me, a slightly lesser film than SHAOLIN MARTIAL ARTS (1974). Here, the entire film centers around the plight of the Shaolin students to overcome the supreme skills of the two Manchu fighters. Chang gives much screen time to building the two main antagonists and foreshadows their superiority even before their first confrontation occurs.
The first clash is one of the most suspenseful moments in kung fu film history as Yu Bi's challenge is accepted by Wang Jing-he. He is allowed to strike Yu three times then it's Yu's turn to reciprocate. Upon Wang's first punch, it becomes frighteningly apparent the Shaolin students are painfully outclassed. The scene continues and Wang is hurtled backwards onto the ground. As two friends rush to him, blood pours from his mouth. Knowing now that he is no match for the Qing fighter, Wang stands and accepts his fate. Chang directs this sequence perfectly as after the second blow, it seems that Wang could quite possibly have died right then. But his pride and code of honor allows him to meet his destiny under pain of death being dealt the third and strongest blow, Wang nearly collapses but then stands with the help of two brothers then uttering, "I'll die standing..."
The second major duel is even more interesting. Both Brother Mai and Brother Ho leave to learn two different forms of Eagle Claw kung fu to tackle the Manchu killers. Ho gets to begin learning straight away but Mai must work before being taught the Eagle Claw. Director John G. Avildsen must have seen this movie at some point because he utilizes this motif in his first KARATE KID (1984) in which Ralph Macchio is taught Karate unknowingly through the use of hard labor. His disdain and ignorance for feeling taken advantage of turns to surprise when he realizes he has learned Karate the entire time. This same plot device applies to SHAOLIN MARTIAL ARTS (1974) and plays out in an almost identical fashion. Here, Mai must catch fish with his hands as well as chop trees and strip the bark with his hands. He soon comes to the realization that he has been training all along. In spite of this, Mai is quickly defeated by Yi Bi. At first it appears Mai may actually best him, but he is tricked by Yu Bi's CUNNING as opposed to his skills. Brother Ho meets a similar fate as he is led to believe that the way to defeat Ba Gang is by smashing his groin with a Rolling Eagle Claw strike similar to Pai Mei's defeat. Only Ba's skill level surpasses that of the White Brow Priest and Ho has his legs broken before taking his own life. It could be surmised that both Mai and Ho could have possibly beaten their adversaries had they been equipped with the proper knowledge but the resourcefulness of the antagonists won over martial skills this time.
Once Fu Sheng and Chi Kuan Chun finally take over the film three quarters of the way in, Chang incorporates a split screen technique as both characters ponder how they will tackle their adversaries. At this point, their teacher features along the left side of the screen giving advice lending a very Obi Wan Kenobi feel to the scene and an ingenious and interesting device with which to propel the story. The scene plays in such a way that Teacher Lin probably divulged the info at some earlier time and the shots of him "speaking" to his last two students are possibly remembrances on the protagonists part. Still, it adds an air of otherworldliness to the proceedings. It's possibly the first time such a technique was implemented into a kung fu movie.
It's also at this point that the focus of the film shifts to these last two students of the Shaolin school and their ardent training in the only two techniques that can pose a major threat to the deadly Manchu fighters. Chang handles these scenes extremely well as both Li Yao and Bao Rong hone their skills in Tiger Crane and Wing Chun respectively. With each succeeding scene, the two practitioners get better and better with the tempo of the music building to a crescendo until the final moment in which both men have achieved success and are finally read to take their revenge. What is most interesting about the following scene between the two heroes and their girlfriends is that Li Yao says that his teacher only taught him kung fu and that defeating Ba Gang depends on his own use of the skill. That his skill is equal to that of Ba Gang, not that either style is better than the other, but Li Yao's success depends strictly on how he uses his skills. An interesting take very dissimilar to most other kung fu movies wherein the hero learns the style needed to defeat the main villain and does simply because said style is superior. Here, the treatment of martial skills is not unlike a chess game.
As talked about above, during the final duel, Yu Bi naturally assumes that Bao Rong's skill is going to be no different than any of the other fighters felled before him. This is demonstrated as the two fight and Yu Bi lands the first blow. This leads to Yu motioning for Bao to come at him again. However, with his Wing Chun skills, the outcome is decidedly different from before resulting in probably the first time a shot of someone's intestines being ripped from their stomach was ever shown on film. The fight between Li Yao and Ba Gang also results in a fake out. Li attacks in much the same fashion as Brother Ho did previously only this time Li feigns the blow and attacks with a deadly strike that leaves Ba Gang missing his eyeballs. Then Li attacks with the devastating groin maneuver that finishes his opponent leaving Ba Gang to die in a painful fashion.
A taut, often times harrowing martial arts film filled with the usual Chang Cheh bravado and while it's not as bloody as many of his other movies, the few shots of bloody violence have more impact because of the masterful build Chang allows here. While most fans prefer Chang's FIVE SHAOLIN MASTERS (1974), which to me, resembles a bigger budgeted indy film, SHAOLIN MARTIAL ARTS (1974) has a bit more to say aside from one fight after another. It shows Chang Cheh in fine form creating an amalgamation of martial arts reverence. A true classic from a true master of martial arts filmmaking and a highly recommended film for fans of the genre and maybe even a few that aren't. One of Chang Cheh's best efforts and one that deserves a place in any kung fu fans DVD library.