Shaolin Kung Fu Mystagogue (1976)

The Ming Emperor has been killed and his brother is on the run from a Ching official with “Iron Skin” kung fu. Aiding him is a former shaolin monk, turned assassin who has his sights set on stealing the deadly 18th form of kung fu from Shaolin Temple while two Ming loyalists vow to protect the King Tan and Shaolin.

Another tale of nationalism begins as Fong Ping (Hsu Feng) and her fellow escorts are taking King Tan south, out of the grasp of the Ching Emperor when the party is stopped in a town and Tan is imprisoned, although his captors are unaware that he is the Ming Emperor. Ping is joined by her brother, Shou Chan (Carter Wong) in an attempt to rescue Tan. Their first attempt is unsuccessful but their second succeeds and King Tan is hidden in Shaolin Temple. Yet Ching spies lurk even in Shaolin and the Ching governor agrees to a plan to capture King Tan devised by Mai Yu Ming, an assassin who wields the Bloody Birds, a set of razer-sharp, spinning blades. The governor, Yu Ming and a small band of Ching infiltrate Shaolin with the aid of their spy only to discover a carefully set trap. Yu Ming soon turns on his former allies in a single-minded bid to find the 18 form of kung fu but Ping and Shou Chan are prepared to stop him.

Shaolin Kung Fu Mystagogue is a generous grab bag of kung fu conventions. There is Ching vs. Ming conflict, Shaolin temple scenes, loads of traps, tons of outrageous weapons, and mounds of wicked kung fu action. None of it is particularly convincing, the wobbly spikes protruding from moving walls, powered by paper thin gears is laughable, but still, its fun to watch. The so-called Bloody Birds is one of the best weapons ever conceived of in kung fu film. The wielder unsheathes folded and serrated blades that become saws of doom that scream as they fly through the air, cutting down men and trees with deadly accuracy before returning to their owner. Other interesting weapons include a three-section sword that unfolds, spinning discs with lighted candles mounted on them, not to mention numerous other chained projectiles that impale their victims and once yanked free, spring from their owner to strike again.

Hsu Feng (A Touch of Zen) stars in one of her lesser roles, although her stern portrayals always add a bit of validity to these inconceivable plots. Carter Wong has the charisma of a block of wood but the overused plot doesn’t really ask for anything more so he fits right in with the rest of the cast who manage to maintain the dubious integrity of a B-grade kung fu flick.

While the story, acting and production values are below standard, some dynamic editing employing close-ups, the use of appropriate music and a plethora of gimmicky props make Shaolin Kung Fu Mystagogue a reasonably entertaining film.