New Tales of the Flying Fox (1984)

“Flying Fox” Wu Fei (Felix Wong) grows up trained in swordplay and seeks to kill the man who killed his father in a duel years prior while getting caught up in a Manchu plot to destroy the martial world’s top heroes.

Wuxia swordplay in the Qing era dominates New Tales of the Flying Fox, an action-packed film combining filmmaking and acting talents from Shaw Brothers’ film and television divisions. Television producer Lau Shut-yue directs, while recognizable kung fu movie stars Leung Kar-yan and Kara Hui are joined by top TVB actors. Coming at the end of SB’s golden era, Flying Fox streamlines both the wuxia and kung fu genres into one film offering polished art direction, expert wirework, elaborate choreography, and a dramatic story. It doesn’t present anything new and the ending is excessively harsh, but it’s still an entertaining effort.

Flying Fox is based on a novel by Chin Yung and adapted for screen by Wang Tien-lin and his son, the famous Hong Kong movie producer Wong Jing. Chin Yung is famous for having crafted the source material for one of Hong Kong’s most popular wuxia television series, Legend of the Condor Heroes, originally aired in three segments during the early ’80s. Flying Fox is also a wuxia tale much like the many Chor Yuen-directed adaptations of Gu Long novels, but curiously, it looks like it’s set during the latter part of the Qing Dynasty (1644-1911), a period more often portrayed in traditional kung fu movies. This allows for the filmmakers to mix swordplay elements like wirework and esoteric powers with elaborate kung fu forms and traditional costuming. This could actually be considered one of few transitional films between the clearly-defined old school kung fu and swordplay films of the ’70s and the wire-filled New Wave of the ’90s because it combines elements from both martial arts film genres. The only thing missing is the semi-realism Tsui Hark brought to his martial arts films.

Leung Kar-yan appears for a short time in the early part of the film as Wu Yi-dao, a top fighter in the martial arts world forced to duel with his only equal, Miao Ren-feng (Alex Man) to determine who is the best. Both being righteous, the two have no intention of killing the other. Unfortunately, Miao’s less-skilled brother Tien Guai-nung not only covets Miao’s wife, but has made a pact with the Qing government to see these martial heroes and Ming loyalists both killed. He poisons Miao’s blade which results in the death of Yi-dao, leaving his wife (Kan Chia-fong) to commit suicide and their infant child in the care of Miao. But the child, named ‘Flying Fox’ Wu Fei is stolen away by a servant of Yi-dao and raised as a swordsman to seek revenge on Miao. But their inevitable duel is put off when Miao, now the leader of the anti-Qing movement, is poisoned by Tien. This brings the pupils of the Medicine Master, who are all poison experts, into the conflict and ultimately draws the battle lines in the martial world. It’s Wu Fei, his new female friend (Kara Hui), Miao, poison expert Ching Ling-soo, and the other top martial arts masters versus Tien, the remaining Medicine Master pupils, and the Qing government.

The whole plot seems convoluted, but it makes more sense when watching the film. The only real problems story-wise are the production/plot holes like the fact that Miao and Tien haven’t aged a day in twenty years or a lack of explanation for how Wu Fei learned swordplay when he was solely raised by someone with no kung fu skill. Poisons, long a favorite element of wuxia stories, plays a vital part in this film which is interesting, but it tends to be too overwhelming. But what is likely to really frustrate viewers is the direction the story takes at the end as a tragic love triangle develops with Wu Fei sharing the affections of Ching Ling-soo and Yuan (Kara Hui). The conclusion to it is extremely violent and abrupt and certainly left a bitter taste in my mouth.

The action choreography on the other hand is sweet. There is a lot of combat in this film and its all spectacular. The art direction and camera work are very clean and precise. This gives the action crystal clarity. The wire-assisted sword fighting and kung fu is intense and complex. Like most wuxia films, it’s not about martial arts actors showing off their physical prowess, but rather a director making actors look like martial gods and Lau Shut-yue succeeds admirably. Everyone looks good, but Kara Hui steals the show, particularly in one extended scene midway through. First, she makes a stunning entrance at a martial arts school challenge by dropping through the ceiling and holding perfect posture while dangling from a strip of fabric. Then she launches into a magnificent display of kung fu. Finally, she ends up taking on the school’s senior member while balancing on clay pots. Yes, there is some trick camera work used, but it’s used well. The coordinated Tibetan monks scene near the end takes a page out of Lau Kar-leung’s or the Venom’s playbook. Their formation kung fu and spinning blades are fantastic.

New Tales of the Flying Fox is a kung fu/wuxia hybrid that leans towards swordplay even when swords are not being used and this may turn off some kung fu purists. Having lesser known faces from Hong Kong television populate the film may also be a detractor, but they do a good job. Kara’s featured fight is a highlight while the film’s ending isn’t, and the action generally wins over a less-than-perfect script. Fans of ’90s wirework films like Fong Sai Yuk looking for more should find this film of interest.