Shaolin Kung Fu (1981)

On the run from Manchu authorities, a young heiress to the deposed Ming throne and one loyal guard make a dangerous journey to Shaolin Temple to seek refuge, while a determined general closes in.

Officially Joseph Kuo’s last film, Shaolin Kung Fu is one of the filmmaker’s more authentic depictions of shaolin temple after having produced entertaining, but fanciful kung fu classics like The 18 Bronzemen (1976). Additionally, it should not be confused with his 1974 production of the same name produced in Taiwan. The film bears striking similarities to mainland China’s first major kung fu movie, Shaolin Temple starring Jet Li. Li’s film premiered in Hong Kong and other territories a year after Shaolin Kung Fu in 1982, but its original mainland release date is debatable. Regardless of release dates, it appears that Kuo modeled his final film after Shaolin Temple which was the first movie to be shot at the real temple with the authorization of the mainland government.

Shaolin Kung Fu definitely has a mainland feel to it as it features mostly panoramic outdoor locations rather than sets, authentic wushu performers, and seemingly authentic military costumes and structures. Kuo’s story is a classic Chinese adventure, when mixed with arguably the best kung fu he ever shot, makes for a highly enjoyable viewing.

Set during the early reign of the conquering Manchu, a young Ming princess is sent into exile to escape capture. A close call that leaves most of her entourage dead and a general named Wong Yi (Chen Shan) hot on her trail forces her and a loyal young guard named Lin Chai-shin (Wong Goon-hung) to travel 3000 miles to Shaolin Temple to seek refuge. They arrive and spend many months there while Chai-shin trains with the monks. Eventually, the general bluffs his way into the temple and recognizes the princess. This spells trouble with a capital ‘T’ as he first sends several assassins and eventually an army to get the princess while Chai-shin and the Shaolin monks prepare for the worst.

This film doesn’t score any points for originality and the story is pretty weak, but the all-important kung fu action is tops. It’s clear that Wong Goon-hung was chosen as the lead for his resemblance to Jet Li. His screen fighting skills are not as strong, but he’s no slouch. Making more of a splash is one of the genre’s top performers, Mark Lung who plays a drunken monk. He loosely reprised the role three years later in Five Fighters from Shaolin. He’s extremely dynamic, precise, and playful in his movements. Playing opposite is a less known, but equally talented Chen Shan. Looking much like Wong Yu in Lau Kar-leung’s Dirty Ho, Chen is a commanding presence with wicked kicking skills. One of the film’s best moments comes when these two square off.

Numerous scenes of expertly-executed drunken boxing and swordsmanship are especially nice to see. All three of the male leads get in on the action. Chen Shan’s drunken swordplay is incredible and shows his versatility. It’s really a shame he came on the scene so late as a subsequent starring role in Shaolin vs. Lama (1983) proved that he was one of strongest screen fighters during the early ’80s.

Shaolin Kung Fu climaxes much the way Shaolin Temple does, to a lesser degree. Qing forces in armor storm the temple in an all-out battle with the Shaolin monks. Individual fights are very well choreographed, but the larger battle scenes are weak. Thin numbers of extras and almost no group or coordinated combat spoils some of the fun. Moments of extreme undercranking also damage what are otherwise great fight scenes. These and a few disappointments concerning sloppy gaps in character and story development and rehashed genre themes keep the film from being absolutely required viewing. On the flip side, the action and lead performances from talented stars are very strong, while bits of humor and scenic outdoor settings are complimentary. Had Kuo not so obviously placed himself in the shadow of Li’s debut, his final effort would have surely stood out more.