Elaborate production values, seasoned choreography, and a sprawling story raises this under-appreciated, historical epic to the level of popular wire-fu films of the period such as Once Upon a Time in China (1991).

At the end of the 19th century, a religious order called the White Lotus Cult is fomenting aggression towards foreigners whose influence has grown in the Southeast region of China. Yet, by courting the sympathies of the reigning Empress Dowager, Chan (Gai Chun Wa), the cult’s leader actually hopes to gain power and collect the “White Lotus Classics,” a remedy needed to cure a deadly poison that is slowly killing him. He talks his former brother, Chin Chen (Yip Chuen Chan) who is a Han Dynasty loyalist, into assassinating the Ching Dynasty Empress only to thwart the attempt himself and thereby gain favor in the court. Chan’s additional plan to take the “Classics” remedy that Chin possesses fails as the wounded, would-be assassin escapes to Canton. Hounded by soldiers, Chin receives aid from Liang Kun (Do Siu Chun), a young rickshaw driver who helps him reunite with Hung (Lily Li), a former love interest with the ability to cure his wounds. With Chan relentlessly closing in, Liang Kung receives martial arts training from the two elder masters. Finally, he is joined by Hung in attempting to save Chin’s daughter (Fennie Yuen), who failed to avenge the death of her father at the hands of Chan.

Perhaps, due to the complex and somewhat intimidating story and a lack of “big” stars, White Lotus Cult has gone relatively unnoticed by genre fans. Actually, for fans of wire-fu action, this is easily one of the best pics to come out of Hong Kong during the ’90′s, which is saying a lot considering how many great films in this sub-genre appeared at this time.

White Lotus Cult begins a loose trilogy, mostly starring the same actors in different roles that continues with Sam the Iron Bridge (1993) and ends with One Arm Hero (1994). Coming out at the peak of period action releases in Hong Kong, this effort garnered significantly less revenue at the local box office than similar projects with names like Yuen Wo Ping and Jet Li attached. However, this does not diminish my opinion that this film deserves greater appreciation. What it lacks in star power, it makes up for with wire-fu fights directed by Kwok Chun Fung that nearly equal Corey Yuen or Yuen Wo Ping’s fabulous work. The entire scene involving the assassination attempt is easily the most stunning and complex that climaxes with an exuberant battle between Chan and Chin on a frozen lake.

Other major bonuses include a high level of subtly in direction and detail in sets and costumes. Its clear that a lot of work went into the film and its most evident in the sets that include intricately detailed tea house interiors and delectable location shoots in mainland China amid ornate temples and city streets. The recreation of the late 1800′s China is impressive and the costumes rival anything seen in Crouching Tiger, Hidden Dragon (2000). But, just as important is how these details are used and director Cheng Siu-Keung puts his cinematography experience to good use with great camera work that sucks in every detail.

The story is admittedly complex to a fault, with a focus on multiple cast members interacting within a historical context that is never clearly explained. But, for those who have even a passing familiarity with Chinese history and the basic structure of your average Hong Kong period film should have no problems becoming immersed in the story. The acting is solid and the script is well written for a Hong Kong release. It is interesting to note that the story is basically a slicked up version of the endlessly reused old school plot of a kung fu master hounded by his arch enemy who takes on a pupil, is killed or wounded and must rely on his young successor to get revenge. Do Siu Chun, who has not had much of a film career in Hong Kong offers up a credible performance, partially attributed to his stately appearance that vaguely resembles Leung Kar Yan, sans the beard. The real star, of course, is Gai Chun Wa who easily slips into his standard villainous role. He is best known for giving Jet Li grief on numerous occasions in films such as Kids from Shaolin (1984) and Fong Sai Yuk II (1993).

It is disappointment to witness a finale upon a platform with a damsel in distress that apes similar scenes found in The Tai Chi Master (1993) and Fong Sai Yuk II (1993). This is where the film starts to really show its limitations in terms of fight choreography. None of the actors appear quite as skilled as say Jet Li or Donnie Yen and the whole scene simply fails to hold up to my expectations. But otherwise, White Lotus Cult is lots o’ fun, especially for Jet Li and Corey Yuen fans.

by

Related Topics:
 •