Brandy Yuen’s Master of Zen is a rare gem in the realm of martial arts movies. It contains equal parts wuxia-styled martial arts, drama and religious philosophy. Yuen manages to create an action-filled homage to Bodhidharma (known as Tamo in China), the symbolic father of Shaolin wushu while staying true to the figure’s influence on the development of Chan (Zen) Buddhism in China.

By Hong Kong standards, Master of Zen is a lavish production that takes us from Tamo’s days as a fighting prince in India, where he forsakes his birthright to follow the path of Buddhist enlightenment, to the Emperor of China’s Northern kingdom and ultimately Shaolin Temple in Henan. While Tamo might be considered just a historical religious figure commonly associated with the development of Chan Buddhism, he is also a part of the legends surrounding the foundation of Shaolin wushu. It is from this perspective, that Brandy Yuen, member of the same Yuen clan that action director Yuen Wo-ping hails from directs and produces this martial arts movie.

In the 5th century in southern India, a prince (Derek Yee) is troubled by visions and his desire to master the ways of Buddha. After his father dies, he forsakes the throne to become a monk and is renamed “Dharma” (although I’ll call him Tamo for the sake of continuity). After studying Buddhism for 67 years, Tamo follows his master’s wishes by traveling to China to preach Buddhism and find a pupil worthy of being his successor. But his emphasis on enlightenment solely through meditation and speaking with “there is no spoon” -isms, isn’t well received by some, including the Emperor of the northern kingdom. For reasons not made clear, although one could imagine frustration played a part, Tamo retires to a small cave near Shaolin Temple to begin nine years of uninterrupted meditation. The monks discover Tamo and although he doesn’t appear to be in need of anything or even acknowledge their presence, the monks do what they can to care for him. Meanwhile, word spreads and peasants begin making pilgrimages to see this holy man.

There’s not much action from this point on where Tamo is concerned so the narrative shifts to a young Chinese monk, played by martial arts star Fan Siu-wong (The Story of Ricky). We learn through flashbacks that he’s a man deeply troubled by the blood he once spilled as an experienced soldier and swordsman. Once his tutelage under a monk played by Wu Ma comes to an end, he reluctantly leaves to begin a journey where along the way he rescues a peasant girl and fends off fleshly desires. He eventually arrives at the cave entrance wherein Tamo resides. Struck by a vision, the young monk vows to become Tamo’s pupil. He waits out in the snow for three days before Tamo wakes from his nine-year mediation. To show his resolve, the monk cuts off his left hand, a hand he long associated with killing, and enters into Tamo’s confidence as his successor and rechristened “Wei Ho.”

The last part of the movie is rushed and deals with how Tamo witnesses the inability of the monks to fend off bandits. After dealing with them himself, he introduces exercises and martial arts training to the temple.

Let’s start with the facts: there really aren’t many. Very little, save for the fact that China was divided into two kingdoms and Shaolin Temple did exist, can be substantiated today by historical documents. There are, however, plenty of legends related to the history of martial arts in China subject to dispute and this tale is one of them. Viewers shouldn’t be too frustrated with any lack of credibility they may find in this movie. Brandy Yuen clearly isn’t trying to make a documentary. The film’s action sequences are dominated by the same type of elaborate wirework that one would find in any ’90s-era wuxia pian such as Blade of Fury. Likewise, Yuen takes creative license in the depiction of supernatural elements such as a spirit possession and Tamo’s fanciful abilities. Beyond his martial arts abilities that allow him to coast across the surface of a wide river using only a thin reed, he’s able to meditate with such unyielding determination as to thwart any attempts to provoke or even move him.

This is foremost a martial arts movie of the wuxia variety and genre fans should find that there is just enough quality action to keep their interest. Derek Yee is heavily doubled for all of his action scenes, but he does a good job of playing Tamo dramatically. Fan Siu-wong displays most of his screen fighting skills in a pair of flashback sequences. One is rather epic in scale as Fan joins an army in storming a fortification. The other is a classic wuxia sword duel as Fan and his opponent battle in front of a Buddha statue. Wires can be seen at times unfortunately, but the movements and dynamic camera work are up to Ching Siu-tung and Yuen Wo-ping standards. Fan has a third fight worthy of mention where, as a monk he dislocates the joints of several attackers. It’s probably the closest the film gets to standard kung fu action.

Since there is no main antagonist to defeat in the end, Brandy Yuen creates one for a fighting finale by having bandits raid Shaolin Temple and Tamo stand up to them. Unfortunately, both the Temple itself and threats posed against it are not well represented so this battle is little more than a footnote to represent the notion that wushu developed at Shaolin as part of a way to defend itself.

Hopefully, Master of Zen is not the final word on Bodhidharma and the founding of traditional Shaolin wushu. I’m thankful that Brandy Yuen and his team put in a solid effort to tell this tale. As far as I know, it’s the only available feature film that does. Also, the scale of the production that encompasses locations, sets, costumes, and large numbers of extras depicting both ancient India and China is actually rather impressive. But with its heavy, ’90s-era leaning towards extreme wirework action and limited depth with regard to Tamo the man and the development of Chan Buddhism, it doesn’t quite do justice to the legend.

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