A young martial arts prodigy uses Tai Chi and his powerful “Pig Tail Stance” to fight opium smugglers while courting an official’s daughter.

Master Yuen Wo-ping is at it again, filling the screen with expertly crafted action sequences and manic comedy. Romance is thrown in for good measure in one of his last directorial gigs to date. Tai Chi II is a hot ticket burdened only by a story that rehashes the successes of previous classics on a smaller budget.

This is no sequel as the title implies, but does recast elder actors Yue Hoi and Lau Shun, both from Wo-ping’s The Tai Chi Master (1993). Wo-ping plays just as fast and loose with the Tai Chi elements in this film as in his previously related title, but replacing Jet Li with newcomer Jacky Wu Jing proves that the Master still knows talent. Unfortunately, the film seems a bit like leftovers from the holiday table.

Wo-ping reverts to his lighthearted, pre-’90s comic tendencies by casting Jacky as a youth nicknamed Hawkman who is locked away by his overly-protective father (Yue Hoi) and forced to study. Learning his father’s kung fu and flirting with girls becomes his chief ambition. Conspiring with his cousin and his sympathetic mother, Jacky sneaks off for a little adventure and romance. He runs into a progressive beauty named Rose (Christy Chung) who has joined a reform movement to modernize China and runs afoul of opium smugglers. In the process, Jacky discovers that having had his “queue” tied to the ceiling for years by his father has resulted in the development of a powerful kung fu style known as the “Pig Tail Stance.” Combined with his father’s tai chi books he has secretly studied, Jacky proves to be a match for all comers, including an ambitious rival known as “The Great Kick of the North” (Billy Chow) and a bloodthirsty Englishman (Darren Shahlavi) who represents the very best that old-world Imperialism has to offer.

For reasons ranging from a derivative plot to poorly executed wirework, critics have unfairly blasted this film for what really amounts to being a last ditch, yet noble effort to keep the waning genre alive. No doubt, Wo-ping already had his eye on Hollywood and new frontiers. He admitted so in a 1993 interview (see HK Legend’s release of Legend of a Fighter). Yet with a small budget, even by Hong Kong standards and a lack of A-list talent, he manages to pack the film with some of the best action to come out of an already outstanding decade for martial arts film.

The same sort of action seen in Wo-ping’s Iron Monkey is found here. Admittedly, its not as distinctive, or original, and occasionally feels rushed, but its still loads of fun. There is a fair amount of wirework, with the cables being visible on at least one occasion. But there is a lot of power (and “power powder”) conveyed through the movements. Wu Jing’s frequent thrashings he doles out to opponents with his queue are fanciful highlights.

Aside from Wo-Ping’s explosive choreography, the film’s anchor is Wu Jing. His onscreen skills are phenomenal and he has a lot of charisma. Its a shame that he was discovered so late in the game. With the decline in martial arts films, he was forced to take his talents to television production, although he did have a memorable role in Tsui Hark’s The Legend of Zu (2001). A more recent starring role in Lau Kar-leung’s old schooler revisited, Drunken Monkey (2003) further proves his status as one of Hong Kong’s last great martial arts stars to emerge from the 20th century.

Other roles to note include a charming performance from former beauty queen Christy Chung. Sibelle Hu appears in one of her last roles, not performing any action. Billy Chow lights up the screen with his martial artistry and intensity. Mainlander Yue Hoi, who first came to prominence starring in Jet Li’s feature film debut, Shaolin Temple, delivers one of his most entertaining roles with a very solid action performance, especially for his age.

Its not for everyone, but Tai Chi II features the kind of goofy antics that made some of Wo-ping’s earlier old school films enjoyable, such as The Buddhist Fist (1979) and Drunken Tai Chi (1984). Fong Sai Yuk fans will recognize the film’s humorous mother/son relationship duplicated here. Wo-ping’s aping of previous hits doesn’t stop there. The end battle between Wu Jing and Darren Shahlavi looks much like the final match in Once Upon a Time in China, although its staged much better than Xiong Xin-xin’s rip-off in The Musketeer. Regardless, this is an under-appreciated feature with enough quality, wire-assisted action to warrant a look.

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