Prodigal Boxer, The (1972)

This is an extremely well-crafted kung fu film centering on the popular Chinese folk hero Fong Sai-yuk. Unusually good acting, great cinematography and plenty of quality action mark THE PRODIGAL BOXER as a cut above many of the other early ’70s kung fu movies.

Much like the celebrated folk hero Wong Fei-hung, Fong Sai-yuk has been a popular martial arts figure in Hong Kong cinema. He was most famously portrayed by Jet Li FONG SAI YUK (aka THE LEGEND). In THE PRODIGAL BOXER, the youthful actor Meng Fei takes on the role with just as much gusto as Jet Li did in the 1993 film. Also prominent in the legend is Sai-yuk’s mother who has trained her son in martial arts. Her role is toned down here but she is still a vital aspect to the story’s development. Unlike the 1993 film, the story shuns humor to focus on Sai-yuk’s fiery temper and desire for revenge. Meng, who appeared in a number of films with co-star Maggie Lee, is perfect for the role as he stomps around in frustration, while his leading lady exhibits a delicate yet determined manner. Shockingly, there is actually some genuine onscreen chemistry between the two as the director takes an usual and welcome turn at several places throughout the film to develop their relationship. You actually start to care about these characters, which is a phenomenal feature to this film.

Japanese sensation, Yasuaki Kurata is in top form as the lead villain although for once he isn’t cast as being “Japanese.” His partner in crime Wong Ching, who plays his brother, doesn’t hold a candle to Kurata in the charisma department. Thankfully, the filmmakers give Kurata and his famous steely stare plenty of screen time. The film centers on Sai-yuk’s several encounters with the two brothers. In a reverse on the ROCKY theme, Sai-yuk is beat into a bloody pulp twice before he finally learns patience enough to prepare for a rematch where it’s the brothers’ turn to bleed. There are some compelling issues involved. Most prominent is Sai-yuk’s desire to kill his opponents when in fact, it’s his own impatience that bests him. His growing love for Siu Ping is pushed aside for revenge but ultimately, it’s his devotion to his mother that tempers his wild spirit, allowing him to finally confront his adversaries on his own terms.

This film is unusual in other respects including production values. Chow Yung-sin’s camera work is impressively executed with extra effort taken to enhance the film’s look. Three-way split screens, a slightly surreal dream sequence and clever angles scattered throughout add a fresh touch of originality. The whole film is well lit, enhancing the details (low budget kung fu movies are notorious for having poor lighting). The sets are not exactly memorable but easily match the quality of any of the Shaw Brothers sets.

What really earns THE PRODIGAL BOXER so many points isn’t the fact that its about Fong Sai-yuk or that it contains some excellent fights, or even its unusually polished production values. At its core, the film has a heart. Fong Sai-yuk is a classic model of the ideal Chinese hero who passionately fights to uphold the honor of his family and without their support, he will fail every time. Even with an awkward ending of poorly executed flashbacks, the film remains a near flawless effort.