The Awesome Kung Fu of Shek Kin

Shek Kin came to his acting career with a background in martial arts, rather than the usual opera training. His first teacher seems to have been Chao Lien-cheng, a specialist in Northern Shaolin style who was affiliated with the Chin Woo Association founded by Huo Yuanjia (see Jet Li’s FEARLESS).

Right: Kwan Tak-hing and Shek Kin. Left: Shek Kin.

Shek eventually became a full time student at the Chin Woo branch in Canton (Guangzhou), where he trained with a well known master named Sun Yu-fung. Sun’s expertise was in do (broadsword or saber) and lohan techniques. In later years Shek described his personal style as mi tsong lohan chuan or “combined lohan fist.”* He also studied Chinese wrestling, or shuai jiao, and tan tui (spring leg) kicking techniques. Other teachers included Chao Kuei-lin, who taught him mantis and eagle claw boxing, and Wong Yung-feng, who trained him in the use of an obscure “secret weapon” called piao, which seems to have been a kind of dart.

This eclectic background contributed to his success as a martial arts actor, since it gave him the versatility needed to master the choreography quickly. It makes sense that lohan boxing became Shek’s specialty, since it emphasizes dramatic poses that mimic traditional Buddhist devotional statues – ideal training for an aspiring kung fu performer!

Although Shek picked up a couple of “assistant action director” credits during his lengthy screen career, he doesn’t seem to have been interested in controlling the entire choreography of a film. Probably he has always been one of the stalwart and easily overlooked pillars of the Hong Kong action film genre, ready to contribute ideas or bits of business, if needed, or even set his own moves, but just as happy to take the choreography and adapt it to his characterization. He could do a fight scene in the soft opera style if he had to. But give him a chance to show real kung fu onscreen, and boy, he really stands out!

Shek Kin (center) in Boston, 1980. Master Bow Sim Mark is to the right of Shek. Choy Lay Fut Master Lee Koon Hung is second to the left of Shek. Donnie Yen is third from left in front row. The author is third from right in front row.

One of the first things that strikes a modern viewer watching Shek’s old fights on film is how lively he is. He bounds into the fray, jumps and skips, and tosses in a front jumping kick or spin without slowing down. That would be the tan tui influence, I’d guess. Even when forced to slow down or soften his onslaught to match his opponent, his movement is always very emotionally expressive. And that would be the lohan influence showing up. His weapon strikes are precise and powerful. He’s a true professional, a master of his trade. It’s no wonder that when Warner Brothers teamed up with Bruce Lee and the Golden Harvest studio to make ENTER THE DRAGON (1973), Shek Kin was tapped to play the evil Mr. Han. He had the moves and the experience. Although he was nearly three decades older than Lee and had to be stunt-doubled in many shots, he still takes an amazing amount of abuse from the younger fighter. His own performance emphasized raw power and physical tension rather than the fluidity he was capable of. Altogether he made a worthy adversary for Lee in the most famous martial arts film of all time.

*According to my sifu, Master Bow Sim Mark, Shek used this phrase in conversation with her about his background.

Shek Kin demonstrates a throw in Kung Fu Weekly #1.

Finally, here’s a video I found on Youtube. Shek was probably over 60 years old when he demonstrated this double broadsword form.

This entry was originally posted on March 2, 2007.

Read Part 1 and Part 2.

Tags: kung fu movie history, Shek Kin