masterofoneinchpunch
09-15-2008, 09:52 PM
I'll have a little fun with my first post (and test this interface out).
The Prodigal Son (***½/****: 1981) Chinese title (敗家仔):
Sammo Hung Kam-Bo's first film on Wing Chun and one of its important experts Leung Jan was the exquisite treatise named Warriors Two (1978). His second movie, The Prodigal Son (1981), would be a much more box-office successful and less didactic prequel to that film and would be his biggest hit until his next movie Carry on Pickpocket (1982). It should be noted that Sammo's importance to the action and martial art genre cannot be overstated and his 1980s directed efforts are still some of the supreme examples of Hong Kong entertainment. This movie is one of his best and among several of the Golden Harvest produced action classics that I have seen many, many times.
In Warriors Two, the important Wing Chun practitioner Leung Jan was an elder gentleman brilliantly played by Leung Kar-Yan. He is now portrayed by Yuen Biao (Knockabout, Project A) as a protected somewhat spoilt kid whose hubris is directly related to the fact that he has won all his fights, unbeknownst to him though they were thrown. He keeps on his fraudulent winning ways until he tries to fight the brilliant and effeminate Peking opera female impersonator star Leung Yee-Tai (Lam Ching Ying: Mr. Vampire (1985), Painted Faces (1988)) who stars as Lotus Poon, is a master in Wing Chun and unwilling to take a bribe. This defeat along with the realization that all his wins were faked (and the help of another defeat by two "mole" people) leads him to seek a sifu in Leung Yee-Tai. He refuses and Leung Jan has his dad buy the opera so he can take a job there and hopefully get Yee-Tai to acquiesce.
Meanwhile, Ngai Fei (played by the composer Frankie Chan Fan-Kei in his second acting performance) the son of royalty sees Yee-Tai fight and feels he must challenge him to a battle. This is analogous to the earlier story of Leung Jan; both are prodigal sons, except that Ngai Fei can actually fight. This leads to an awesome fight on a junk between Ngai and Yee-Tai that is interrupted by Yee-Tai's asthma attack. Ngai being honorable will not take advantage of his sick opponent. However, his two of his cronies employed by Ngai's father are not so exemplary. They see Yee-Tai as a threat and later try to off him in an overly violent attack by hired ninja-like assassins. This is one of the few scenes in the film where compared to the tone of the film was a bit excessive (though still quite cool).
To escape from these assassins and to allow Yee-Tai to heal, they go to Yee-Tai's Wing Chun brother Wong Wah Bo's (director Sammo Hung) house where he is not teaching his overweight daughter Twiggy (Ho Wai-Han) how to fight he is doing calligraphy (one of the funniest and impossible to describe scenes; also shows his interest in this art form analogous to the calligraphy fighting scene in The Magnificent Butcher (1979)). He is a master of the long distance form (masculine) of Wing Chun while his comrade Yee-Tai knows only close fighting. Leung Jan must get both of these masters to teach him so he can become a stalwart in martial arts and take part in the ubiquitous training scenes.
As normal in biographic cinema, Sammo Hung takes some dramatic license in its portrayal of these real-life characters (which he also did in Warriors Two). Leung Yee-Tai and Wong Wah Bo did in fact teach Leung Jan. Leung Yee Tai was in fact in an opera troupe "Red Junk" (also known as the King Fa Wui Goon troupe) and was known for his "Six-and-a-half point Long Pole" technique which was not addressed in this film. Leung Yee-Tai was known for playing a female lead (female players were illegal at this time) which his portrayer Lam Ching Ying also did under the tutelage of sifu Fan Fok-Fa. This helps in his authentic display and wonderful performance. Possibly his best, though he will always be known for being the thick eye-browed priest in Mr. Vampire and he has mentioned his favorite is in Painted Faces. While the history of Wing Chun is somewhat sketchy and anecdotal, the time period for this movie takes place around the 1850s.
Hong Kong action film expert Bey Logan has named this as his favorite martial art film and it is hard to disagree. While there are a few moments of brutality that seem out-of-place and many of the fights make you wish they were longer, it is a thoroughly satisfying film. Two of the fights: with Lam Ching Ying fighting Frankie Chan and Yuen Biao fighting Frankie Chan are worth watching several times. The finale is quite brutal and fits the Wing Chun mantra of "If an opponent is hurt, go for his wounds" quite well. The action is brilliant, fast paced and fits the theme of the movie quite well with gorgeous displays of Wing Chun and other styles. The plot actually helps the film instead of being inconsequential or a distraction. It is also an exquisite looking film with cinematographer Ricky Lau Koon-Wai (director of Mr. Vampire and many more kyonsi films) doing a superb job. There are also the descriptive backstage Peking opera scenes and the Cantonese comedy which works almost seamless with the action helps make this movie a most enjoyable experience. In fact it is one of my favorite martial art movies (cannot choose one though) and one I would recommend to convert others on to this genre.
The Prodigal Son (***½/****: 1981) Chinese title (敗家仔):
Sammo Hung Kam-Bo's first film on Wing Chun and one of its important experts Leung Jan was the exquisite treatise named Warriors Two (1978). His second movie, The Prodigal Son (1981), would be a much more box-office successful and less didactic prequel to that film and would be his biggest hit until his next movie Carry on Pickpocket (1982). It should be noted that Sammo's importance to the action and martial art genre cannot be overstated and his 1980s directed efforts are still some of the supreme examples of Hong Kong entertainment. This movie is one of his best and among several of the Golden Harvest produced action classics that I have seen many, many times.
In Warriors Two, the important Wing Chun practitioner Leung Jan was an elder gentleman brilliantly played by Leung Kar-Yan. He is now portrayed by Yuen Biao (Knockabout, Project A) as a protected somewhat spoilt kid whose hubris is directly related to the fact that he has won all his fights, unbeknownst to him though they were thrown. He keeps on his fraudulent winning ways until he tries to fight the brilliant and effeminate Peking opera female impersonator star Leung Yee-Tai (Lam Ching Ying: Mr. Vampire (1985), Painted Faces (1988)) who stars as Lotus Poon, is a master in Wing Chun and unwilling to take a bribe. This defeat along with the realization that all his wins were faked (and the help of another defeat by two "mole" people) leads him to seek a sifu in Leung Yee-Tai. He refuses and Leung Jan has his dad buy the opera so he can take a job there and hopefully get Yee-Tai to acquiesce.
Meanwhile, Ngai Fei (played by the composer Frankie Chan Fan-Kei in his second acting performance) the son of royalty sees Yee-Tai fight and feels he must challenge him to a battle. This is analogous to the earlier story of Leung Jan; both are prodigal sons, except that Ngai Fei can actually fight. This leads to an awesome fight on a junk between Ngai and Yee-Tai that is interrupted by Yee-Tai's asthma attack. Ngai being honorable will not take advantage of his sick opponent. However, his two of his cronies employed by Ngai's father are not so exemplary. They see Yee-Tai as a threat and later try to off him in an overly violent attack by hired ninja-like assassins. This is one of the few scenes in the film where compared to the tone of the film was a bit excessive (though still quite cool).
To escape from these assassins and to allow Yee-Tai to heal, they go to Yee-Tai's Wing Chun brother Wong Wah Bo's (director Sammo Hung) house where he is not teaching his overweight daughter Twiggy (Ho Wai-Han) how to fight he is doing calligraphy (one of the funniest and impossible to describe scenes; also shows his interest in this art form analogous to the calligraphy fighting scene in The Magnificent Butcher (1979)). He is a master of the long distance form (masculine) of Wing Chun while his comrade Yee-Tai knows only close fighting. Leung Jan must get both of these masters to teach him so he can become a stalwart in martial arts and take part in the ubiquitous training scenes.
As normal in biographic cinema, Sammo Hung takes some dramatic license in its portrayal of these real-life characters (which he also did in Warriors Two). Leung Yee-Tai and Wong Wah Bo did in fact teach Leung Jan. Leung Yee Tai was in fact in an opera troupe "Red Junk" (also known as the King Fa Wui Goon troupe) and was known for his "Six-and-a-half point Long Pole" technique which was not addressed in this film. Leung Yee-Tai was known for playing a female lead (female players were illegal at this time) which his portrayer Lam Ching Ying also did under the tutelage of sifu Fan Fok-Fa. This helps in his authentic display and wonderful performance. Possibly his best, though he will always be known for being the thick eye-browed priest in Mr. Vampire and he has mentioned his favorite is in Painted Faces. While the history of Wing Chun is somewhat sketchy and anecdotal, the time period for this movie takes place around the 1850s.
Hong Kong action film expert Bey Logan has named this as his favorite martial art film and it is hard to disagree. While there are a few moments of brutality that seem out-of-place and many of the fights make you wish they were longer, it is a thoroughly satisfying film. Two of the fights: with Lam Ching Ying fighting Frankie Chan and Yuen Biao fighting Frankie Chan are worth watching several times. The finale is quite brutal and fits the Wing Chun mantra of "If an opponent is hurt, go for his wounds" quite well. The action is brilliant, fast paced and fits the theme of the movie quite well with gorgeous displays of Wing Chun and other styles. The plot actually helps the film instead of being inconsequential or a distraction. It is also an exquisite looking film with cinematographer Ricky Lau Koon-Wai (director of Mr. Vampire and many more kyonsi films) doing a superb job. There are also the descriptive backstage Peking opera scenes and the Cantonese comedy which works almost seamless with the action helps make this movie a most enjoyable experience. In fact it is one of my favorite martial art movies (cannot choose one though) and one I would recommend to convert others on to this genre.