A Han scholar (David Chiang) with kung fu skills is sent by the Qing Emperor to infiltrate the household of suspected anti-Qing rebels by posing as a tutor. He marries into the family, but is forced to narrowly fight his way out. After losing vital evidence, he develops Mantis Fist kung fu and returns for a rematch.
Master Lau Kar-leung, kung fu moviemaker and exponent of Shaolin kung fu turns his attention to the art of Praying Mantis kung fu in this dramatic revision of how the style was created. Although the story is overly contrived, illogical and full of plot holes, spectacular kung fu choreography and a standout action performance for David Chiang makes this an entertaining genre classic.
Perhaps looking for a little variety after releasing a series of Shaolin-related films, Lau took the founding of Northern Praying Mantis kung fu as his subject and then ditched the founder’s relation to Shaolin Temple. This is odd considering the English title, but there you have it. In the original legend, kung fu practitioner and Ming loyalist Wong Long challenged Shaolin monks and lost. By chance, he witnessed a praying mantis fighting a cicada. From the insect’s movements, he developed the kung fu style and returned to challenge the monks again. In Shaolin Mantis, David Chiang plays a similar fellow named Wai Fung, but with a connection to the Qing throne through his father (Cheng Miu), a minister in the capital. Instead of going to Shaolin, he is sent to the home of Tien (Lau Kar-wing) and his family to find proof that they are in league with anti-Qing rebels. Wai becomes a tutor to Tien’s spoiled granddaughter Gi-gi (Wong Hang-sau). Tien and his three sons come to suspect Wai of being the Qing spy that he is. Before they can kill him, Gi-gi intercedes on his behalf with the old “we-had-sex-out-of-wedlock” ruse to force Tien to allow her to marry Wai and thus salvage her reputation. The only hitch is that Wai can never leave the family home. But with the Emperor’s promise to put his parents to death if he doesn’t return within one year, Wai is determined to leave and convinces Gi-gi to challenge her family on this issue.
The kung fu action kicks into high gear from here on as Wai barely makes his escape after fighting his way through the brothers and being soundly defeated by Tien and his superior Shadowy Fist technique. Having left behind the evidence he needed to prove that the Tien family are rebels, Wai camps out in the wilderness to improve his skills. Enter the praying mantis that becomes his inspiration for the kung fu style to defeat the Shadowy Fist. He’s soon picking up massive logs by cupping his hands and wrists over them. He returns to the Tien house to challenge each of the brothers; Chung (John Cheung) with his tiger fork, Bao-jiang (Wilson Tong) with his pu dao, and finally a temperamental Bao-tung (Norman Chiu) with his twin swords. Then it’s on to the elder Tien for the real showdown.
All of the plentiful weapons combat in the film that leads up to the finale is excellent. David Chiang convincingly wields a spear, three-section staff and twin butterfly knives against his adversaries. His last bout with Norman Siu is the most memorable. Part of Norman’s deadly sword technique is to frequently perform rolls on the ground. Chiang comes up with a clever method of turning this maneuver against him. Leading lady Wong Hang-sau is not just a pretty face. She also performs some energetic kung fu sparring of her own and certainly offers up the film’s most colorful character.
The final match between Chiang and Lau’s brother Kar-wing is outstanding. Apart from Kar-wing’s pipe, it’s open hand all the way. The gist is that Kar-wing’s Shadowy Fist technique is used to ensnare or trap its victim in locking attacks. Chiang’s Mantis style, with its own locking moves and counters is the perfect foil. The engagement becomes a physical chess match of sorts with equally-equipped opponents trying to outmaneuver each other. Although most of the moves are with the arms, crucial legwork isn’t left out either. The only thing that’s missing is outrageous acrobatics and leaping, but that’s not what this type of hardcore kung fu action is about. This is Lau Kar-leung, the action director at his very best and kung fu buffs should definitely take note. The gruesome finishing move, seen only by the characters’ shadows on the wall is priceless.
Although given prominent billing, Gordon Liu only briefly appears in the beginning along with Lee Hoi-sang to challenge Chiang. Lily Li is the only other kung fu actress in the film and she gets a couple of modest action scenes to show off her abilities. Her character is a bit indecisive however and this makes her appear less fierce than she does in some of her other action roles.
Judged on kung fu action alone, Shaolin Mantis is a winner. Yet I found myself disappointed by the story. The playful interactions between Chiang and Wong Hang-sau are amusing and there are some great moments of tension midway through, but the set up for Chiang’s big confrontation with the Tien household is weak. Part of the problem is Chiang’s unclear motivations. We know he wants to save his family, but it’s impossible to tell if he ever developed any familial attachment to his new in-laws or felt conflicted feelings. Lau then drops a minor surprise ending to the plot that only confuses the issue further.
While classic kung fu plots are notoriously simple, Lau’s own films are generally a cut above. He makes a few missteps here that leads me to believe that had he stuck closer to the recognized history of Praying Mantis kung fu, it might have resulted in a better, more cohesive film overall. But for truly great weapons combat and Mantis Fist sparring, you can’t go wrong with Shaolin Mantis.
by Mark PollardRelated Topics:
Genre: Kung Fu • Genre: Shapes • Shaolin Mantis (1978)
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