Quartet of Shaw Blu-Ray releases from 88 Films.
All HK.
FTV:3: The Spiritual Boxer (1975)7.
Running from every town with his hands filled with goods in the hopes that the locals won't click in that his act of being able to speak to the spirits is a con, until long after he has moved on to the next bunch of local yokel suckers, Wong Yue gives an excellent performance as Chien, thanks to Yue performing the thrilling Kung-Fu moves with a slickness, which Yue blends with a cheeky comedic enthusiasm when Chien outwits another local.
Making his directing debut by taking on the spiritual boxer, director Chia-Liang Liu hits a winning combo, thanks to closely working with cinematographer Han Lu Kuang in landing the Action set-pieces with ultra-stylized whip-pans, crash zooms, and jump-cuts from smoke flash bangs used by Chien to create the image of getting powers from the spirits.Between the spirited boxing, Liu high-kicks a merry Comedy atmosphere, via staging lively sequences where Chien leaves the locals on eggshells as he flees,and in a playful spoof to the Horror movies the Shaw Bros were putting out, surrounds Chien in creepy low-lighting drizzled in brash colours,as he comes face to face with what appears to be a real spirit.
Keeping up with Chien on his travels, the screenplay from Kuang Ni keeps Chien busy on the road by smartly going for a variety of styles for his con act to play out, which knock-out any risk of things becoming repetitive, as Chien goes from fooling the local hard man with fake knives, to using objects he finds round the villages that will keep the locals hands full, as Chien makes a spirited getaway.
FTV:4:The Vengeful Beauty (1978)9.
Completing the Shaw Bros " Guillotine" trilogy, director Meng-Hua Ho & cinematographer Hui-Chi Tsao unroll beheading sequences dripping with Hammer Horror bright red blood round the throats of the victims, whose heads collapse on the ground to panning shots jumping upwards to the high-kicking wire work, along with sharp slow-motion and crash-zooms on each killer punch.
Delivering revenge against a beautiful Shaw Brothers water colour backdrop, Ho keeps an eye on Qui-yan's stealth revenge attacks with ultra-stylized whip-pan shots on the ground towards Qui-yan rolling into attack mode, that Ho captures in long tracking shots through the locations, as Qui-yan takes aim at her next target.Mourning her murdered husband whilst being pregnant, Ping Chen gives an excellent performance as Qui-yan, who Chen has hold a cold as ice gaze when taking down her next target, while displaying touching vulnerability in private, when Chen feels relaxed enough to let her guard somewhat down around allies that include a former lover and a fugitive.
Opening with the acts of murder that lead to the blemishes of vengeance to be dragged across the innocent beauty of Qui-yan, the screenplay by On Szeto wonderfully uses the quiet character moments of mourning to build a portrait of the raw rage and pain within Qui-yan, which gets unleashed by the vengeful beauty.
FTV:5:The Human Goddess (1972)10.
Coming down from Heaven to give everyone a spoonful of sugar,Li Ching gives a magical performance as the Seventh Sister, thanks to Ching blending delivering the comedic dialogue in a cheeky, playful manner, with an intentional, wonderfully overripe expressiveness in the Melodrama of Seventh Sister discovering her former lover on Earth.Landing on Earth with the Seventh Sister, the screenplay by writer/director Meng-Hua Ho conjures up a splendid seamless criss-crossing of genres, flowing from fish out of water fantasy Sit-Com gags and catchy Musical tunes over Seventh Sister feeling the flames of romance again, to the outstanding strange sight of Seventh Sister encouraging child labour and her laughing in the face of all the jumped-up politicians lusting for her.
Featuring a Musical number where the cast dress up as rabbits, director Ho & The Masked Avengers (1981-also reviewed) cinematographer Hui-Chi Tsao bounce the film along on a spellbinding atmosphere, which lays out the distinctive glossy Shaw Bros colours in whip-pans, glittering tracking shots down the streets of Hong Kong being lit up by magic, changes in film speed for slap-stick antics, and gorgeous close-ups on the beaming smile of the Seventh Sister, a real human goddess.
FTV:6:The Brave Archer (1977)7.
Made at a time when Hong Kong studios were chasing after the next Bruce Lee knock-off, director Cheh Chang & cinematographer Mu-To Kung aim their arrows at the Wuxia, and successfully hit tense Action set-pieces, on a large romantic Fantasy canvas.Working closely with editor Hsing-Lung Chiang, Chang and Kung cover the differing fighting styles of the "Seven Freaks of Jiangnan" , with differing methods of shooting the sequences, hitting the Freaks with crash-zooms, scatter-shot whip-pans,jagged jump-cuts, rolling hand-held camera moves,and hard-hitting freeze frames, keeping the Freaks and the audience on edge during each fight.
Filmed completely in the studio, (the director was suffering with mobility issues at the time) Chang unveils an immerse atmosphere, from the extended opening credits sequence, where narration gives a detailed background to each of the characters, who are introduced dripping in Shaw Bros distinctive primary colour palette, which Chang wonderfully spirals out to the razor sharp panning shots going through the clear fake trees and flowers (which help to give the film a more fantastical quality) towards Guo (trained by the Freaks) and Huang (daughter of a evil emperor ) breaking the divide with their romance.
Based on the gigantic Wuxia novels The Legend of the Condor Heroes by Louis Cha Leung-yung, the screenplay by The Eight Diagram Pole Fighter (1984-also reviewed) writer Kuang Ni brings a sprawling, epic sense to the adaptation, via Ni weaving a the threads of each of the Freaks over each other, whilst gradually increasing the visibility of the Huang and Guo romance.Instead of going for the traditional knock-out Kung-Fu ending, Ni takes the novel approach, of the final being based around a battle of intelligence, where Guo has to display his knowledge on music, poetry, rhythm and literature, as the brave archer raises his bow.