REVIEW: ‘The 36th Chamber of Shaolin’ (1978)

Step up, step up ladies and gentlemen for one of the greatest martial arts films of all time! No surprise here. Orchestrating this illustrious affair is master choreographer Lau Kar-leung, himself a student of southern Shaolin martial arts, who took it upon himself to film the ultimate homage to the legend of Shaolin Temple. This came after he acted as action director for Chang Cheh’s groundbreaking SHAOLIN MARTIAL ARTS. Chang’s classic was followed by several similar films recounting popular legends of Shaolin including FIVE SHAOLIN MASTERS and SHAOLIN TEMPLE, all focusing on Chang’s love affair with the noble bonds of brotherly masculinity and bloody self-sacrifice.

In 1978, Lau took the directing reigns and brought real martial arts and training into the spotlight like no one had before in Chinese cinema with the release of THE 36TH CHAMBER OF SHAOLIN. Though masterfully streamlined for entertainment’s sake, the film features some of the most powerful and thought-provoking images of kung fu training ever conceived. With its blockbuster success, the film marked the beginning of a remarkable string of hits that firmly established Lau as the greatest ambassador of Shaolin kung fu to cinema goers worldwide.

According to legend, the illustrious Shaolin Temple is the source of all kung fu and therefore most martial arts styles in the world. The Buddhist headquarters was thought to be divided into northern and southern temples. The focus of this and most other Shaolin-related films produced in Hong Kong is on the southern temple where many heroes emerged from its supposed destruction by Manchu invaders who ruled China throughout the Qing Dynasty.

One of these heroes was San Te, here played by Lau Kar-leung’s adopted brother Gordon Liu in his star-making role. San Te’s greatest claim to fame, according to legend was the creation of a training hall within Shaolin for laymen, or non-monks to learn kung fu.

In the film, San Te himself starts out as an outsider named Lin Yu-te who enters the temple as a fugitive from the Manchu. Under the guidance of his teacher he had joined a student rebellion that was ruthlessly squashed after a tough new Manchu general (Lo Lieh) arrived. The talented Wilson Tong is Lo’s chief lieutenant who hounds Yu-te.

Once he finds refuge in the temple, Yu-te becomes the first adult outsider to be accepted as a monk. He is renamed San Te and begins a long and arduous regime of menial chores that is only broken a year later once he gets the bright idea to ask to learn kung fu. This is of course his chief aim as he hopes to use the skills to fight the Manchu.

There are 35 chambers, or training halls within Shaolin with the 35th being the lowest level. This is where San Te begins a long period of harsh body and mind conditioning that includes walking across floating logs to hone his dexterity. He also must carry pails of water uphill and bang a giant bell for upper body and wrist strength. Other training involves focusing on moving points of light for sharpness of sight and self control and butting his head against sand bags to develop a strong head.

Having quickly mastered these basics, San Te moves on to actual kung fu training and weapons combat. He finally conquers all 35 chambers and receives the last of many promotions. Blocking his ascension is the Justice Officer who challenges San Te to beat him and his butterfly knifes first. After many trial and errors, San Te eventually pioneers the use of the three-section staff and is victorious. The remainder of the story focuses on San Te’s efforts to recruit students for his 36th chamber and to challenge the general and his lieutenant with his new kung fu skills.

Some of the film’s brilliance belongs to Gordon Liu who shaved his head for this role and kept the look thereafter. He is convincing on every level from his character’s humble beginnings as a student, to being a wizened master of kung fu. He has an average physique compared with the chiseled likes of Chen Kuan-tai or Bruce Lee, but his elfish features, charisma and competent kung fu skills are all assets. His weapons use and hand work is especially impressive and big brother Lau gets every mile out of each scene.

Lau’s real brother Kar-wing makes a worthy appearance as a rebel general who challenges Lo Lieh in a bloody sword fight. This proves to be an early highlight. The best action thereafter takes place within the temple in the form of training. To be a real kung fu movie enthusiast you have to appreciate training sequences which became a whole sub-genre. After the release of Chang Cheh’s SHAOLIN TEMPLE, copycat Shaolin training films turned up everywhere with Joseph Kuo’s being the best after Lau’s work.

No serious fighting takes place again until the last half hour as Liu emerges to fight Wilson Tong and finally Lo Lieh. Liu breaks out his three-section staff and Lau expertly shows off the strengths of this unusual, but effective weapon in one of the best cinematic examples.

You cannot go wrong with THE 36TH CHAMBER OF SHAOLIN. Everything from the direction, cinematography, action, and even the music is above average and more often, perfectly executed. It makes a great introduction to the genre, to its history and to Shaolin martial arts. Best of all, Lau Kar-leung displays his uncanny ability to show elements of real kung fu with grace and thought behind every move. This film is simply a must-have for any self-respecting kung fu movie fan.