Come Drink with Me…Then You Die

The protagonist of Come Drink With Me (1966, AKA Da Zui Xia) is a petite Chinese woman named Golden Swallow (Cheng Pei-pei…yes, the same lady from Crouching Tiger, Hidden Dragon). Based on this description, you might assume this is one of those Chinese teahouse stories where the main character is either a peasant or a princess who finds herself caught in a love triangle. You would be wrong, but at least you were right about their being a teahouse.  No, Golden Swallow is a sword-wielding badass who likes to lure her adversaries into a false sense of security by sipping tea before she uses her two daggers to slice them up. 

Director King Hu truly revolutionized the martial arts film genre with this 1966 classic.  The overall production standards and fight sequence designs were a great leap forward for Hong Kong cinema.  Concentrating on the areas of color and movement, King Hu creates a martial arts film full of grace and style. His lead actress’s ballet training no doubt helped with the overall gracefulness of her character’s deft movements. Watching her precise and fluid movements in the fight sequences is something to behold.  It is strange to say, but watching her engage in these acts of violence one is reminded of a beautifully choreographed Chinese opera. And she does all this wearing long gowns and large hats, which I suppose makes her seem even more skilled, as no doubt it was not easy to maneuver in such costumes. King Hu deliberately chose Cheng Pei-pei for Golden Swallow because of her ballet background. An admirer of Peking Opera, King Hu constructed his fight sequences based on the principles of dance.

In addition, King Hu benefits from his other star, Yueh Hua, who plays Drunken Cat, a drunken beggar who assists Golden Swallow in her quest to free her brother, a local government official, from a group of bandits. We first meet Drunken Cat when Golden Swallow meets with the bandits at a teahouse to negotiate the release of her brother. Things escalate when she refuses to trade the bandits’ leader for her brother—enter Drunken Cat as her secret weapon. More than ten years before Jackie Chan played a drunken master, it was Hua Yueh who brought this martial arts technique to the big screen. It is rumored that he consumed two bottles of wine before filming his fight sequences. It is quite comical to listen to him sing songs from famous Peking Opera’s to help Golden Swallow. 

Though they have completely different personalities, Drunken Cat and Golden Swallow work well together.  He serves as a wise advisor and capable accomplice. She’s a hothead who often acts before she thinks. It is through one of Drunken Cat’s opera songs that Golden Swallow finds the bandits’ hideout—a spectacularly designed Buddhist temple. The realistic-looking temple was entirely constructed on the Shaw Brothers’ lot. When Golden Swallow is injured there by a poisoned dart, it is Drunken Cat who nurses her back to health and helps her plan her assault on the temple.  Of course, Drunken Cat has his own debt to settle with his brother (Chan Hung Lit), who is both a criminal and an abbot at the temple.  As such, there is eventually a  showdown between the two brothers…and Golden Swallow has her own showdown with the bandits—but in an interesting twist she has a mini-army of female warriors who help her defeat them. 

Come Drink With Me might not be the best martial arts film of all time, but it certainly is one of the most important. King Hu truly changed the Wuxi genre by creating fight sequences that could be viewed as both artistic and powerful. A sequel, Golden Swallow, followed two years later, but it was not as good as the original and there is no Drunken Cat.  However, King Hu would score another hit in 1971, with his best film A Touch of Zen, which I will be reviewing next week.

The Venoms Find Their Strength in Chang Cheh’s “Crippled Avengers”

Kung fu master Black Tiger Dao Tian-Du (Chen Kuan-Tai) encounters men attacking his family. His lethal reciprocation comes too late, as his wife has been murdered and his son, Dao Chang (Lu Feng), mutilated, his arms cut off. Many years later, Dao and his son, now with arms made of iron, seek revenge against the descendants of the men who killed their wife and mother. Their vengeance, however, extends beyond those related to the murderers, as they terrorize a town by crippling anyone who may even slightly provoke them. Three men who have fallen prey to the Dao father/son form a kinship: Chen Shuen (Philip Kwok as Kuo Chui), a traveling salesman who is blinded; Wei (Lo Meng), the town blacksmith who is made deaf and mute; and Hu (Sun Chien), simply a man who, in the midst of an argument, inadvertently bumped into Dao Chang and whose legs are severed as a result.

Master Wang Yi (Chiang Sheng) arrives in town and hears about the three crippled men, who have been outcast by the townspeople, too frightened to cross Dao. Wang confronts Dao and his army on the men’s behalf, but he is overpowered and tortured so ferociously that it renders him childlike. Accepting the blame for Wang’s condition, the three men return him to his master, Li (Cheng Miu). Master Li trains each man in the martial arts, strengthening Wei’s eyes and Chen Shuen’s ears, and helping Hu, with iron legs crafted by Wei, develop his kicking skills. After three years of discipline, the new masters, along with Wang, head back into town for retribution, while Dao is distracted by his upcoming birthday celebration.Chang Cheh’s 1978 Crippled Avengers (original title: Can que/aka Return of the 5 Deadly Venoms; Mortal Combat; Avengers Handicapped) is a standout among kung fu films. Chang was one of the most productive and fruitful directors at Shaw Brothers Studio. Many of his films are considered classics, representative of both the kung fu and wuxia genres (wuxia films, in a very basic sense, focus on swordplay over hand-to-hand combat), as well as the Hong Kong industry in general. Chang’s filmography is just short of 100 movies, including The One-Armed Swordsman (1967) with Jimmy Wang Yu, King Eagle (1971) with Ti Lung, and The Brave Archer (1977/aka Kung Fu Warlords) and its sequels.

Crippled Avengers is about destitute men overcoming authoritarian brutality, a common theme in Chang’s and Hong Kong films, but it is also a movie about camaraderie and unity. The avengers of the title are triumphant because they function as a whole, a combined effort that the villains cannot truly achieve for themselves. Chen Sheun and Wei are the first two men wounded by Dao and his son, and they are also the first to bond. The two men communicate with their hands by writing characters on open palms and Wei occasionally guiding Chen Sheun by grasping his wrist or hand. Their relationship is like an older brother to a younger sibling, each man in each role interchangeably. More significantly, the physical connection links them together, so that their handicaps, which may be perceived as weaknesses, are offset by a mutual distribution of strength. It’s fitting that, in one sequence, Wei destroys the large drums intended to deafen Chen Shuen, while Chen Shuen shatters the mirrors meant to blind Wei with reflections. Singularly they are strong, but combined they are practically unstoppable.The other two men, Hu and Wang, help reinforce the group. Once they’re in town, they spend much of the time keeping Hu’s iron legs a secret. Hu seems to become a reserve, or a trump card, as a kick from Hu almost certainly means death. Wang’s simple mind is very nearly a hindrance (he comes close to revealing the secret weapon), but he plays his part as an avenger. His antics (“playing” with the others) is ultimately an extension of the men’s training, as they work their skills against his constant interruptions. Wang most enjoys playing with iron rings in the course of Chen Shuen’s training. When Chen Shuen is fighting Dao Chang, Wang finds iron rings and throws them at the feuding men, leading to a breathtaking action sequence featuring the trio.

In contrast, Dao and his men have the ingredients for an alliance but cannot (or will not) take full advantage. Dao’s right-hand man, Keeper Wan (Wang Lung-Wei), initially underestimates the men once they return to town. But even after he recognizes their abilities, Wan still doesn’t utilize enough of Dao’s men and refuses to tell Dao of the antagonists, believing he will disrupt preparations for Dao’s birthday. In one particular scene, Master Jiu (Yeung Hung) has Wan attack him, using a Chinese weapon translated as “meteor hammer” (a single-headed version, with a heavy ball attached to a chain, similar to a flail). Wan swings the meteor hammer and wraps the bulky chain around Jiu, whose muscular prowess snaps the chain. It’s a notable expression of the villains’ lack of totality. If the men can be considered “links,” any chance of them joining together in full force is vanquished by an exhibition of individual physique.A number of Chang’s films feature actors who have come to be collectively known as the Venoms or Venom Mob. The group’s namesake is derived from the title of the 1978 hit, The Five Deadly Venoms. The men had previously worked with one another and with Chang, but Venoms is one of the most popular films. The main five actors of the Venoms star in Crippled Avengers: Kwok, Chiang, Lo, Sun and Lu (though Chiang was not officially a “venom” in The Five Deadly Venoms -- he played the student searching for the five masters -- he appeared in more films than the fifth venom, played by Wei Pai). There are other actors, in addition to Wei, considered part of the Venoms but in fewer films, including Wang Lung-Wei. (Despite one of the U.S. titles -- Return of the 5 Deadly Venoms -- Crippled Avengers is unrelated in terms of plot and characters.)

There are some who regard Crippled Avengers as exploitative, for the characters’ disabilities as well as the violence (the latter of which is a typical complaint of many of Chang’s films, as he never shied away from geysers of blood). But Chang does not ridicule the characters. He presents them as men who are burdened with obstacles which they must overcome, and although Wang’s mental trauma results in the man behaving as a child (and Wang becoming the comic relief), his kung fu expertise remains intact, and he is clearly a vital part of the group. Crippled Avengers is a superb film from Chang and spotlighting the Venoms. Viewers may overlook the plot or may dwell on choosing a favorite Venom, but one thing is indisputable: when the Venoms are fighting, the audience should hold its breath and try not to blink.

Bruce Lee's Kung Fu Classic "Fist of Fury"

Although Enter the Dragon was the best movie starring Bruce Lee, the best Bruce Lee movie remains the seldom-shown Fist of Fury. Most American viewers compare it unfavorably with Enter the Dragon, because it lacks the latter film's colorful production, James Bond-style plot, and supporting English-language performers. But Fist of Fury doesn't need those trappings—it provides an ideal showcase for Lee's graceful athletic prowess, simmering fury, and surprising adeptness at humor.

Fist of Fury is also Lee’s most traditional genre picture. It even recycles the vintage plot of two martial arts schools pitted against one another. In this case, the setting is Shanghai 1908 and the basis of the conflict is nationality—a Japanese school wants a Chinese school closed and will go to any length.

The film opens with the funeral of the Chinese school’s teacher and the return of Chen (Lee), a former pupil. As the students honor their former teacher, thugs from the Japanese school interrupt the proceedings to deliver a framed sign proclaiming the Chinese martial artists “The Sick Men of Asia.” Several Chinese students, including a smoldering Chen, want to fight the Japanese intruders, but the new teacher convinces them to hold back their anger.

Chen (Lee) takes on a whole school of martial arts students.

Chen complies—initially—but later he returns the sign to the Japanese school and challenges the whole class to a fight. In a spectacular display of cat-like quickness and balletic movement, Chen demolishes the student body. The sequence rates as Lee’s best large-scale fight. The precise choreography and exaggerated camera effects (e.g., cant shots, quick zooms) enhance Lee’s natural charisma. He teases opponents, then stuns them with lightening-fast kicks and sudden blows to the face. He finishes the scene by making his defeated opponents eat the offending sign.

Lee stages a fight with former real-life student Bob Wall.

Later in the film, he duels with the Japanese school’s chief instructor, a promising student from Russia, and the head teacher. This three-fight sequence works with the efficiency of a swift combination punch. Each martial arts match is framed by its surroundings (a room, a courtyard, another room), giving the effect of Chen moving through a game of progressively more difficult levels. The chief instructor is a weak opponent. The Russian puts up a decent fight. The teacher manages to cut Chen with a sword (prompting the famous reaction of Lee’s character tasting his own blood). But none of these opponents can match Chen when he channels his uncontrollable fury into a flurry of lethal blows and kicks.

Lee in disguise in Fist of Fury.

Fist of Fury exploded on the international boxoffice when first released. It was retitled The Chinese Connection in the U.S., apparently so as not to confuse it with an earlier Lee film (The Big Boss which had been retitled Fists of Fury for its U.S. distribution). Naturally, the the film's producers also wanted to capitalize on the popularity of The French Connection (1971).

A tender scene with Nora Miao.

Bruce Lee's path to martial arts film stardom was one with many pit stops. Although he was born in San Francisco in 1940, Lee grew up in Hong Kong and appeared in several films as a child actor. He moved to the U.S. in the late 1950s and eventually became a martial arts teacher. In 1964, Lee's exciting fighting style attracted attention at the Long Beach International Karate Championships and resulted in a TV deal from producer William Dozier. Lee was eventually cast as Kato in the short-lived Green Hornet TV series starring Van Williams. During that time, Lee also befriended two of his martial arts pupils: actor James Coburn and screenwriter-producer Stirling Silliphant.

Silliphant kept Bruce busy with supporting roles in:  Marlowe (1969) with James Garner; A Walk in the Spring starring Ingrid Bergman; and several episodes of the James Franciscus TV series Longstreet. Concurrently, Lee developed his own concept for a TV series called The Warrior, which mixed the martial arts and Western genres. Although a pilot for The Warrior was never produced, the similar Kung Fu TV series premiered a year later. Bruce Lee was considered for the starring role that went to David Carradine.

Lee as Kato in The Green Hornet.

Frustrated with his acting career in the U.S., Bruce Lee returned to Hong Kong where he discovered that The Green Hornet had made him a star (the series had even been retitled The Kato Show). Producer Raymond Chow, who had recently started his own film company called Golden Harvest, convinced Lee to sign a two-picture deal. The resulting kung fu classics--The Big Boss and Fist of Fury--made Lee a worldwide superstar.

Today, Fist of Fury remains one of the few martial arts films to survive the “kung fu craze” of 1973-75. Although relegated to videotape showings for the most part, it has become a staple for Bruce Lee fans, martial arts enthusiasts, and film historians interested in the cinema of the 1970s. There have been several official and unofficial remakes and sequels, with the best one being 1994's Fist of Legend starring Jet Li.

Moon Lee and Yukari Oshima Beat the Odds -- and All the Men -- in “Angel Terminators II”

Bullet (Yukari Oshima) is released from prison and is greeted by her friends, including Chitty (Moon Lee). When Bullet, who was a member of a triad gang (Chinese criminal organization), goes to see her former boss -- on whose behalf she was imprisoned -- for money, he suggests payment by way of Chitty becoming a prostitute. The fiercely loyal Bullet is enraged and attacks the triad boss and his men, a fight that Chitty joins. The friends’ seemingly endless scuffles lead to a conflict with other triads, and when Bullet resorts to her old criminal ways, she incites a triad leader, “Mad” (Wong Chi-Yeung). Soon it seems that everyone is out for revenge, acts of violence which ultimately involve Bullet’s estranged father, Bao (Jason Pai Piao), and his impetuous partner called “Big Aunt” (Sibelle Hu).

Angel Terminators II (1993) was directed by Wong Chun-Yeung (also known as Simon Yun Ching or Tony Liu Jun-Guk, among other aliases) and Chan Lau, with Yuen Bo as action director. It is a sequel in name only to Angel Terminators from the previous year, a film that starred Carrie Ng and Japanese actress/stunt woman Michiko Nishiwaki.
The most significant quality of Angel Terminators II is that the female characters are indisputably the strongest. The movie opens with robbers who have taken hostages in a restaurant. Big Aunt is informed of the situation and runs inside (ahead of her male partner) with no hesitation. Though she is with uniformed officers and Bao, Big Aunt apparently thinks nothing of facing a robber armed with an assault rifle against her revolver. Her adeptness is even acknowledged when an officer, who does not appear to be injured, tosses his gun to her. Chitty and Bullet are introduced separately: Chitty training with a female opponent and Bullet coolly flashing an obscene gesture at the officers as she leaves the prison. However, after Chitty humiliates a man at a karaoke bar (she refuses his demand of stepping ahead of her and Bullet at karaoke), the women and their friends are attacked on the street. Chitty and Bullet take control of the scene by effortlessly beating the men and, for good measure, pulverizing their car with lead pipes that the men were using as weapons.

In contrast, the men in Angel Terminators II prove nearly worthless. When Chitty, Bullet, and others confront triads who are blackmailing their friend, May, with an incriminating videotape, the two ladies burst through the door before anyone else. As if the question of who the real muscle is wasn’t already confirmed, Turkey (Lee Ho-Kwan) pulls a gun, the only person brandishing a weapon, and is quickly and easily disarmed. Only after the opponents are grounded is the gun retrieved, as Chitty kicks it into the air and catches it. The group narrowly escapes but is stopped, at which point Turkey once again points the firearm at triads and loses the weapon in little time. This not only expresses the skills of the women -- Turkey’s possession of the weapon means that Chitty has returned it to him, since she clearly doesn’t need it -- but, particularly when the triads realize that the gun is a fake, it’s difficult not to equate the gun’s lack of value with Turkey.
The remainder of the male cast falls in line with Turkey’s shortcomings. Another friend, Bull (Anthony Cho Cheuk-Nin), does little more than pine after Bullet (who doesn’t reciprocate) and cheer on the ladies. During the fight, their friend, “Chick,” actually stands behind May, the girl whom is, more or less, being rescued (and his name clearly alluding to the man as a “chicken”). Chitty’s uncle (Lo Lieh) has scars covering his body, but he literally puts people to sleep when telling the stories of how he got them. Even Bao, perhaps the most enduring of the males, is undermined by his inability to prevent his daughter, Bullet, from constantly running into trouble with the law.

The movie has a plethora of cues to the characters as women, most of which are contradicted by their behavior. Chitty is in an all-women martial arts class, and she taunts her opponent and even distracts the coach so she can kick her rival a final time. Bullet’s old boss asks Chitty her name after arrogantly calling her “Little Sister,” to which Chitty mocks him by stating her name as Little Sister. She also casually leans against the wall once Bullet starts fighting the triads but immediately begins kicking the men when Bullet is hit with her back turned. Bullet wears pants with the word “slut” printed all over in bright red, as if she’s daring someone to call her that. She seems timid when Chitty wants to sing karaoke with her, but is not the least bit hesitant when the group is assaulted later. In one sequence, both Chitty and Bullet carry handbags, which they retain while engaging in fisticuffs. Chitty’s bag is even over her shoulders, like a school backpack, a considerable visual since she has convinced her uncle that she is still attending school. Big Aunt, for her part, is an antithesis to a stereotypically “prissy” woman: she wears a bulky jacket, talks with her mouth full while eating, and tries to start a fight with Mad after he insults her (and indeed fights him later when Bao isn’t there to stop her). Perhaps most memorable of all, Big Aunt tends to snarl at criminals as they walk away.
Moon Lee Choi-Fung had made appearances in such films as Tsui Hark’s classic, Zu: Warriors from the Magic Mountain (1983) and 1985’s Mr. Vampire (the first in an immensely popular series about hopping vampires), but it was her role in Angel (aka Iron Angels; Midnight Angels) in 1987 that established her as an action star. Angel is generally credited as the movie that spawned the “Girls with Guns” subgenre, which was most prevalent in Hong Kong. Lee is a petite woman, often affectionately described as “cute” or “adorable,” and watching the actress fight men practically twice her size is nothing short of exhilarating. Her skills are derived from dance as opposed to formally training in martial arts. Lee starred in a number of films throughout the late 80s and 90s but has since left the industry (though she occasionally crops up on TV or film) and is now focused on teaching dance.

Yukari Oshima trained as a stunt woman and appeared on Japanese television before starring in Hong Kong films. Her first notable role was as the malicious villain in Angel with Moon Lee. Oshima was unfortunately often relegated to supporting roles, and she’s typically remembered for her villainous characters, perhaps best known to Western audiences for her part in the cult Riki-Oh (1992/aka The Story of Ricky). In the mid- to late 90s, she relocated to the Philippines where she made films credited as Cynthia Luster. Though Oshima’s cinematic output has waned in recent years, she will reportedly star in Legendary Amazons, a film also starring Cecilia Cheung and Cheng Pei-Pei and produced by Jackie Chan, set for release sometime in 2011.
In addition to Angel, Lee and Oshima have starred in a number of movies together. Both actresses were in Mission of Justice (1992), played assassins in Dreaming the Reality (1991), also directed by Wong Chun-Yeung and co-starring Hu, and appeared with action stars Cynthia Khan and Nishiwaki in The Avenging Quartet (1993) -- though the four ladies sadly did not make up the “quartet.” Lee and Oshima fought one another, as protagonist and villain, in Angel, Kickboxer’s Tears (1992) and Beauty Investigator (1993). They reversed roles for A Serious Shock! Yes Madam! (1993/aka Yes Madam ‘92: A Serious Shock; Death Triangle), also starring Khan and featuring Lee in what is likely her only turn as villain.

London born Sophia Crawford, who played one of the more formidable foes to battle Chitty in Angel Terminators II, moved to Hong Kong to star in action films. After extensive training, Crawford became a familiar face in Hong Kong movies, often assigned the role of villain (which was typical for British actors). In the U.S., she has doubled for numerous actresses in stunts, most famously Sarah Michelle Gellar in the first four seasons of the popular TV series, Buffy the Vampire Slayer. Crawford is also a member of the United Stuntwomen’s Association.

One of the biggest disappointments of Hong Kong films is that actresses such as Moon Lee and Yukari Oshima never achieved international success like Jackie Chan, Jet Li or Michelle Yeoh. Likewise, it’s a shame that their movies are so hard to find. Angel Terminators II is one of their very best, as each woman displays her acting chops and martial arts prowess. Though they may be unknown to the mainstream, Lee and Oshima are held in high esteem among fans of Hong Kong cinema, two remarkable ladies whose impression on action films is everlasting.

Trivia Time - Part 79

There were a number of unanswered questions from last week's Trivia Time, and here are the answers:

Who Am I? I'm a three-time Oscar-winning composer and arranger. I've worked with John Huston, Raoul Walsh, Billy Wilder, and Marilyn Monroe. I made one film with Errol Flynn, and ten with Humphrey Bogart. Who Am I?

Answer: Adolph Deutsch

Who Said This? "Did you ever see Robert Mitchum in Thunder Road?" Who Said This?

Answer: Peter Fonda in Dirty Mary, Crazy Larry.

1. Speaking of Robert Mitchum in Thunder Road, name the years and makes of the two cars he drove in that film.

Answers: 1950 and 1957 Fords.

2. Which Flynn film did Who Am I? score?

Answer: Northern Pursuit

3. How many title themes did Frankie Laine sing in films? Name the films.

Answer: 5; Man Without a Star, Strange Lady in Town, Gunfight at the OK Corral, 3:10 to Yuma, Blazing Saddles.

4. Frankie Laine had a HUGE hit with a movie theme that he did NOT sing in the picture. Name the film, the song and the person who sang it in the movie.

Answers: High Noon, "High Noon", Tex Ritter

5. Which two classic '60s TV shows prominently featured the harpsichord?

Answers: Becks answered half of this question with The Addams Family; the second one is Secret Agent.

And we now present TT79:


Who Said This? "He's so low that when they bury him, they'll have to dig UP!" Who Said This?

Who Am I? Errol Flynn says I was the most feared character actor in Hollywood because I would steal every scene. But Flynn wasn't afraid to work with me, and did so often. Who Am I?

1. How many films did Max Steiner score in 1939?

2. In 1948, Max Steiner scored 12 pictures. Which of the twelve was nominated for an Oscar for Best Score?

3. Name two sets of father-and-son actors who appear in Treasure of Sierra Madre.

4. Besides Advance to the Rear, name another film for which The New Christie Minstrels sang the opening title song.

5. Two films starring Walter Matthau were later spun off into television series; name them.

6. Name a Sidney Lumet (R.I.P.) film featuring Dan O'Herlihy.

7. During his introduction to a new co-star, Errol Flynn slapped her on the backside and bellowed, "Hiya, Red!". Name the actress and the film they made together.

Horror Comes to China in Song at Midnight

To say Song at Midnight (Ye Ban Ge Sheng) is completely unknown to contemporary film audiences would be an understatement. Yet, it is considered by many film historians to be one of the best Chinese films of the early sound era. There are many things to admire about this 1937 picture, but I would like to focus on its unusual take on a classic tale and its outstanding set design.
There have been many film adaptations of Gaston Leroux’s novel The Phantom of the Opera (most notably the 1925 classic starring Lon Chaney), but Song at Midnight is perhaps the most unusual. Director and screenwriter Ma-Xu Weibang took a chance when he took liberties with Leroux’s original story, but his gamble paid off in the end. Instead of making the protégé a female opera singer, Ma-Xu decided that the story would work better if the singer were a male.  This really changes the story’s dynamics and it also ends up making the Phantom a more sympathetic character.
The story takes place at a run-down theater, where 10 years earlier the great opera singer Song Danping (Jin Shan) died.  Well, he didn’t really die, but everybody thinks he did. Evidently he has been skulking about making the locals believe the place is haunted, while waiting for someone with a voice as gifted as his own to make into the greatest opera singer in China.  You see, Song was once a great singer, as well as a  revolutionary himself, but then he went and fell in love with Li Xiaoxia (Woo Ping), the daughter of a vindictive feudal lord and the would-be girlfriend of Tang Jun. This is also an important element of Ma-Xu adaptation, because in the 1930s China was in the midst of political turmoil. In the end, Tang throws nitric acid in Song’s face and he is horribly disfigured. He decides to let the world (besides a few friends), and Li, think he’s dead. And, so when Song hears the voice of Sun Xiao-au he has the “voice” and face he needs to make a comeback—and to bring love back to Li.  This is what makes the adaptation so unusual, Song and Sun are more like Cyrano and Christian from Cyrano de Bergerac than the original story of the Phantom and his case of unrequited love with Christine. Of course, things turn a bit nasty when Song learns that Sun has his own fiancee, but in the end, the Phantom of this story ends up being a hero, even though he doesn’t have a happy ending.  Quite simply, it is wonderfully woven story and such a great spin on the traditional Phantom tale.
Besides having a great story, Song at Midnight is also a visual treat. Ma-Xu was a not only a fan of Tod Browning’s Universal monster films, he was also an admirer of German expressionism, most notably the works of Fritz Lang and Robert Wiene. Ma-Xu put together a film heavy with gothic atmosphere and haunting images. Ma-Xu sets the mood from the very beginning, by introducing the audience to the cobweb infested theater at night, and having a mysterious man lurking in the shadows. From that point on the scene is set and what follows truly comes from an artistic mind.
One of the most notable images is when we first see the Phantom’s face. Via flashback and with a handheld camera, we watch over Song’s shoulder as he slowly unrolls his bandages in front of a mirror.  Not only his reaction is captured in a pristine moment, but the framing of the reactions of those around him are superbly done as well. You can almost feel the recoil of those looking at his disfigured face. When he smashes the mirror it means so much more than just shattered glass all over the floor.
Overall, this is an interesting film to watch.  I’m always curious to see how certain genres took form in different countries.  Ma-Xu borrows heavily from the Universal monster films, especially the opening sequence and the finale with the torch wielding crowd. Of course, it is the reinterpretation of Gaston Leroux’s story that I find the most intriguing.  Sometimes when screenwriters make changes to original stories things don’t work out well, but in this case it was a refreshing retelling of a classic tale.

Tying (and Kicking and Punching) the Knot in “Heroes of the East”

Ah To (Gordon Liu) is opposed to his arranged marriage to a Japanese woman, Kung Zi (Yuka Mizuno), at least until he finally sees his beautiful bride-to-be. Just a few days into the union, Ah To’s trusted servant, Shou (Cheng Hong-Yip), hears sounds behind closed doors which lead him to believe that his master is beating his wife. As it turns out, Kung Zi is practicing martial arts, such as karate and judo. Ah To, believing that Chinese kung fu is both superior to the Japanese martial arts and more “proper” for a lady to practice, offers to teach kung fu to Kung Zi. The woman’s absolute refusal to learn invariably compels both husband and wife to prove that each respective discipline surpasses the other. Physical altercations ensue to showcase technique and weaponry, until Kung Zi packs her things and returns to Japan.

While visiting Japan, Ah To’s father learns that Kung Zi has left and is apparently being courted by childhood friend and ninjutsu expert Takeno (Yasuaki Kurata). When Shou convinces an irate (and drunk) Ah To to send a letter to Kung Zi, what the man sends is an open challenge, claiming that he will admit defeat if his wife is victorious in whatever martial art she chooses. An unforeseen repercussion of the challenge is Takeno reading the letter, which he shows to other martial arts masters. They take the letter as an insult, and experts in different martial arts travel to China to confront Ah To, with Kung Zi trailing behind them.


Heroes of the East (aka Shaolin Challenges Ninja; Challenge of the Ninja; Shaolin vs. Ninja/1978) was directed by Liu Chia-Liang (also known as Lau Kar-Leung), one of the most prolific directors, along with King Hu and Chang Cheh, to work at famed Shaw Brothers Studios in Hong Kong. He also worked as an action choreographer and sometimes as an actor, and his brother, Liu Chia-Yung (or Lau Kar-Wing), likewise was a director/choreographer and occasional actor for Shaw Brothers. Their adopted brother is Liu Chia-Hui, better known as Gordon Liu, one of Shaw Brothers’ most popular stars.
Heroes of the East is primarily an action film, but the comedy derived from the constant bickering between Ah To and Kung Zi is both whimsical and sweet. Ah To differentiates the marital arts by describing kung fu as a softer, more delicate discipline, whereas Kung Zi’s karate (or Japanese martial arts in general) is too aggressive. This plays well with the actors’ performances: Liu’s boyish face and mischievous smirks contrast with his skilled moves, while Mizuno’s sharp, vigorous punches and kicks are an antithesis to the seemingly meek Japanese wife. The sequences involving the two of them are the film’s highlights, including Ah To attempting to show Kung Zi the demure way to kick befitting a proper lady, using his robe as a makeshift dress; in one of their many confrontational moments, the two show each other their more covert weapons, pulling out hidden knives and the like, and slamming them on a table; and when asked about a bandage, Ah To is too embarrassed to admit that he has sustained an injury from his wife.
The film can be broken into two parts, the first half being the “battles” between husband and wife, and the second half a nonstop series of action set pieces, as Ah To must duel with each master. Japanese characters in Hong Kong films are often villains, but in Heroes of the East, a number of Japanese martial arts are displayed and treated respectfully. Each duel features a specific Japanese weapon or technique against a Chinese counterpart. The fights are superbly filmed and truly outstanding. One of the most memorable scenes is when Ah To’s master suggests using Chinese drunken boxing to combat karate. Not trained in said discipline, Ah To’s fellow students must approach Master So (played by the director), hoping that he’ll engage them in a fight. So while they’re continually beaten, Ah To copies So’s movements and slowly learns drunken boxing.
Though the action is topnotch, the second half of the film is at its best when it manages to acknowledge the feud’s catalyst: the relationship between Ah To and Kung Zi. It is handled in a surprisingly subtle manner, but there is undoubtedly a mutual love and respect between the two. After his wife leaves, Ah To has drunk himself into a stupor, evidently upset over Kung Zi’s absence. Following Ah To’s first duel, his Japanese opponent tries to give Ah To his katana (sword), as a sign that he has yielded. Unable to speak the language or understand the custom, Ah To does not accept the sword. The remaining masters consider this an offense and demand he fight everyone else. Kung Zi explains this to Ah To later and says that, had he taken the katana, the feud would have ended. It insinuates that the two of them should be together, an idea confirmed later when Kung Zi essentially becomes a translator for Ah To and his opponent.

The same year as Heroes of the East, Gordon Liu starred in The 36th Chamber of Shaolin, also directed by his brother and which remains one of his most recognizable films. Playing a student of the Shaolin Temple, Liu shaved his head, a style he has retained for the majority of his career.

Japanese actor Kurata, an accomplished martial artist in karate, judo and aikido, has been quite successful in Hong Kong movies. He has appeared in two unforgettable cinematic battles, against Jet Li in Gordon Chan’s 1994 Fist of Legend (a remake of the 1972 Bruce Lee film, Fist of Fury) and Vicki Zhao Wei and Karen Mok in Corey Yuen’s So Close (2002). He also maintains a stunt agency, Kurata Promotion Company, based in Tokyo.
Heroes of the East is brimming with action sequences yet tells a decidedly good-natured story. It only falters by not satisfactorily resolving the dilemma within the couple’s marriage, as the movie abruptly concludes following the final duel. However, they did seem to put their petty disputes aside for the abundant fights, so one can assume that the two found common ground. After all, when a husband beats the crap out of seven men just to prove something to his wife, can that not be equated with a happy ending?

Samurai Rebellion -- A Shock to the System

I was a little reluctant to dip my toe in the water of this month’s theme. I have given serious attention to only three films based on martial arts, The Seven Samurai (Japan), Crouching Tiger, Hidden Dragon (China), and The Karate Kid (Hollywood). I also remember my sons watching Bruce Lee movies incessantly when they were young, but I only caught quick glimpses of those films as I carried the washbasket into the bedrooms or called them to dinner. However, I decided to stretch my wings and give it a try for Kung Fu month at the Café. I picked out the movie in the same basic manner that I used once to find a locksmith, by opening the yellow pages and blindly putting my finger on a name. In this case, I decided to go to my Netflix Streaming account and see what was to be had. I noticed a film called Samurai Rebellion which starred Toshiro Mifune, a great actor that I remembered from The Seven Samurai and also the marvelous mini-series, Shogun. The name sounded right, I liked Mifune, and thus my decision was made. How could I have known that I was about to see a movie that would not only keep me riveted to the screen, but has also now become one of my favorite films?

Released in 1967, the original title was Joluchi – Hairyo Tsuma Shimatsu, translated as Rebellion – Receive the Wife. For American audiences, it became Samurai Rebellion, a title that distributors felt would be a better attraction for martial arts enthusiasts. Produced by Mifune Productions and Toho Company, Samurai Rebellion is based a novel by Yaslaiko Takiguchi, with screenplay done by Shinobi Hashimoto. I am so ignorant of these films that even in my research I did not recognize other movies from these sources that I could cite as good examples of their work. I do know that director Masaki Kobayashi, production designer Yoshiro Muraki, and editor Hisashi Sagara, created a marvel of black and white beauty, utilizing incredible spatial orientation in the sets, and symbolic interpretation in even the look of the film that tells the story with as much importance as the words.

Samurai Rebellion does indeed include martial arts, but not as I expected. Set in the year 1725, it is the story of Isaburo (Mifune), a man who was once a great swordsman and has reached middle age as a samurai vassal to the Lord of the region in a time of peace. Isaburo does his routine, daily work as part of the Lord’s samurai guard. Without a war to fight, it is a time when he finds himself the father of grown sons and the sadly hen-pecked husband of his wife of 20 years, Suga (Michiko Otsask). Suga is a bitter, sour woman, and the marriage has never been a happy one. Family name and honor were the reasons behind Isaburo’s marriage to Suga, and he secretly grieves for the intimacy and love he never felt, and would never know. Isaburo has a close acquaintance named Tatewaki (Tatsuya Nakodai), a strange relationship between two men who apparently have some old feud, but who decided long ago not to fight it out so neither of their families would be hurt. Now they are friends, and Tatewaki seems to be the only contemporary who understands Isaburo’s state of mind. Tatewaki plays an important and unexpected part in Isaburo’s story.

Isaburo’s oldest son, Togoro (Takeshi Kato), is of marriageable age, and the Lord sends word that he wishes to foist off his troublesome mistress as wife to Togoro. Rumor says that she is a headstrong, belligerent woman who attacked the Lord and a new mistress out of jealousy. However, she is also the mother of the Lord’s second son, and cannot be punished. To disobey the Lord’s wish would mean dishonor and trouble for Isaburo’s clan. Togoro, in his desire to keep his beloved father and the family name out of trouble, insists that he will take the woman. This event triggers Isaburo’s life passage from his present status as a quiet man who has accepted his unhappy destiny to a strong father determined to save his son from the same fate. In a surprising turn, the woman Ichi (Yoko Tsukasa) is a wonderful wife to Togoro and a loving daughter-in-law to the sour and suspicious Suga. Togoro and Ichi come to love one another, and Isaburo feels great affection for Ichi. When Ichi finally tells her story, the great injustices and heartbreaks which have afflicted Ichi bind her even more closely in the hearts of the two men. She had been forced to leave her son because of the Lord’s unjust whim, just one of the many sorrows Ichi has endured. She turns to Togoro in love, and they build a happy life with their new little daughter, Tomi. Isaburo’s own happiness for his son is poignant and heartrending.

However, as Isaburo said to his friend Tatewaki early in the film, “The world never seems to go right.” The Lord’s first son becomes ill and dies, and now he demands Ichi back as mother of the second son who is now the heir to his realm. Togoro refuses, then waivers as the family, including his mother, quarrel viciously with him for his unfilial behavior at putting his wife before clan and name. In a meeting with Togoro and Isaburo, Ichi sees Togoro’s wavering determination, and she is devastated. Isaburo then turns into a tiger -- Ichi will not be returned to the Lord, Togoro and Ichi’s love must not be destroyed, Tomi’s parents must not be taken from her. Togoro regains his first determination, and the two men are ready to fight all of the Lord’s army if necessary. Isaburo’s almost-forgotten legendary gift with the sword is rekindled. The rebellion begins, and the story unfolds to viewers in ways of which they could not have dreamed. When martial arts come into play, the emotional effect upon the viewer is astonishing.

Sometimes, at least for me, it is difficult to know if a Japanese actor is a good one simply because of the enormous difference in manner and language emphasis. To me, the Japanese language seems to make everyone sound angry, even if they are not, and it can be challenging to guess at the acting ability of showing emotion because of those issues. But great acting is clearly evident here. Mifune was in his mid-40’s at this time, and coming to his prime in acting ability. He is simply a marvel in this complex role. Kato as Yogoro, and Nakadai as Tatewaki, both offer performances of depth. But it is Tsukasa as Ichi whose extraordinary acting prowess gives her the same power on film as the veteran Mifune. I would defy any viewer with a shred of soul to remain unmoved by this incredible actress.

I remember sitting with my Dad watching Toshiro Mifune in Shogun. We never missed an episode. Dad had been a tail gunner in the Army Air Corps, fighting the Japanese during World War II. I remember turning to him one night when a thought struck me like one of Isaburo’s sword strokes -- Dad and Mifune were the same age, and they might have been trying to kill one another. Dad thought for a minute with a far-away look in his eye, as so many of the men who fought would do when asked about the war. He just said “It’s possible, honey. But we were all just kids.” I learned something important about the supreme act of forgiveness possible to the human spirit from my Dad. I’ve learned something new again with Samurai Rebellion, about the universal nature of great film in a genre to which I had never really given a chance. I should pick my movies that way more often.

Back When Everybody was Kung Fu Fighting!

The first love affair between American mainstream moviegoers and the martial arts film genre was a short one, lasting from 1973 to 1975. Ironically, it was a TV series that piqued the curiosity of American audiences and, unknowingly, primed them for big screen battles with crunching fists and crushing feet. That TV show was Kung Fu, of course, which debuted as a made-for-TV movie in 1972 and evolved into a weekly series later that year. Future martial arts superstar Bruce Lee tested for the lead role, but lost the part to David Carradine. The amount of fight footage in the series was actually minimal and often filmed in slow motion.

Hands that glow in 5 Fingers of Death.

In 1973, though, moviegoers got a taste of the real thing when Warner Bros. imported the Shaw Bros. Hong Kong sensation 5 Fingers of Death (known elsewhere in the world as King Boxer or Tian xia di yi qyuan). For martial arts film aficionados, the film still serves as a prototype of some of the genre’s most popular plot devices: conflict between rival martial arts schools and a defeated hero who overcomes his opponent by learning a new fighting technique. For casual moviegoers, though, it was the exciting, tightly-choreographed fight scenes that kept them glued to the screen. But there was one thing missing in 5 Fingers of Death--and that was a charismatic leading man with whom American audiences could identify.

Lee fights a rival school by himself
in The Chinese Connection.

Bruce Lee filled that void nicely with Fists of Fury (aka The Big Boss), which was released the same year. Some filmgoers recognized Lee from his short stint in the 1966-67 superhero TV series The Green Hornet. That introduction didn’t prepare them for Lee’s big screen animal intensity, his stunningly choreographed fight sequences, and his quiet charm. By the time Lee’s second film, The Chinese Connection (aka Fist of Fury), was released that same year, he was an international superstar. His meteoric rise came to a shocking end when he died of unknown causes in 1973. By that time, Lee had completed two more films: the English-language Enter the Dragon (his biggest U.S. hit) and Return of the Dragon (retitled statewide from Way of the Dragon to capitalize on Enter the Dragon).

Wang Fu as the One-Armed Boxer
in Master of the Flying Guillotine.

In the wake of Lee’s death, kung fu cinema struggled to another superstar. The first performer to be marketed as the heir apparent was Wang Yu, renamed Jimmy Wang Yu for English-language audiences. Ironically, Wang Yu had been a huge star in Hong Kong cinema before Bruce Lee in hits like The Chinese Boxer and Golden Swallow. Despite his Asian fame, Wang Yu projected a bland personality and stiff fighting style--especially compared to Lee--and Americans never embraced him. However, he encountered some minor success stateside by directing and starring in two exciting “tournament films”: The Chinese Professionals (aka The One-Armed Boxer) and Master of the Flying Guillotine (aka One-Armed Boxer 2). Both films feature him battling multiple villains, each with a unique fighting style. As for Wang Yu, well, he loses an arm in the first film and still manages to crush his opponents using the “iron fist” technique. The second film expanded the premise and features better fights in better locations. It has since evolved in a cult film with fans like Quentin Tarantino, who used a music clip in Kill Bill.

Angela Mao in Enter the Dragon.

The only other Asian stars to achieve even fleeting fame with Western audiences were Angelo Mao and Sonny Chiba. While Angela Mao lacked the feminine appeal of future Asian action stars like Michelle Yeoh, moviegoers enjoyed watching a young woman beating up men twice her size. She scored three modest hits with Lady Whirlwind, When Taekwondo Strikes, and Hapkido. Their success earned her a small role in Enter the Dragon and even an interview on television’s 60 Minutes. As for Chiba, he achieved notoriety in 1974 when his Japanese import The Street Fighter was the first film to rated X solely for violence.

Other established Asian stars, like David Chiang and Ti Lung, tried to keep the kung fu craze alive in America. And ABC even tried to a launch another TV series with Men of the Dragon, a pilot with Jared Martin that appeared on the ABC Movie of the Week in 1974. But, without Lee, popular interest in the kung fu craze fizzled as quickly as it had begun. It would be almost two decades before U.S. would embrace another martial arts superstar: Jackie Chan.

Trivia Time - Part 78

Life gets a little complicated here on the central coast, sometimes...sorry we're late again!

About last week's TT, it was good to see two new players!! And most of the questions were answered...good job, people! Here are the answers to the unanswered ones:

Who Are We? We were both child stars in the late '40s and early '50s, and we appeared together as brother and sister in a 1950s film. One of us also had a TV series in the '50s. Who Are We?

Answer: Tommy Rettig and Natalie Wood in The Jackpot.

Who Said This? "I was an Elizabethan fruit fly....the Betty Boop of Stratford-on-Avon." Who Said This?

Answer: Richard Dreyfus in The Goodbye Girl.

With no further ado, we present TT78....enjoy!:



Who Am I? I'm a three-time Oscar-winning composer and arranger. I've worked with John Huston, Raoul Walsh, Billy Wilder, and Marilyn Monroe. I made one film with Errol Flynn, and ten with Humphrey Bogart. Who Am I?

Who Said This? "Did you ever see Robert Mitchum in Thunder Road?" Who Said This?

1. Speaking of Robert Mitchum in Thunder Road, name the years and makes of the two cars he drove in that film.

2. Which Flynn film did Who Am I? score?

3. How many title themes did Frankie Laine sing in films? Name the films.

4. Frankie Laine had a HUGE hit with a movie theme that he did NOT sing in the picture. Name the film, the song and the person who sang it in the movie.

5. Which two classic '60s TV shows prominently featured the harpsichord?

6. Name one thing that Deborah Kerr and Thelma Ritter have in common (besides being female and being actresses, LOL!).

7. Name one thing that these three films have in common: A Letter to Three Wives, Call Northside 777, Miracle on 34th Street.

Composer of the Month: David Raksin

If Laura was the only film that David Raksin ever scored, then his legacy in film music would still have been secured. Melodic, haunting, and lush--Raksin's score, and especially his title theme, are integral to the success of Otto Preminger's classic film noir. If you've forgotten just how beautiful his Laura theme is (or just want to hear it again), click on the link below:

Raksin's theme was so popular that Johnny Mercer added lyrics in 1945. The song "Laura" was been covered by dozens of artists from Duke Ellington to Johnny Mathis to Carly Simon. I always liked the rendention by Matt Monro (the "British Frank Sinatra"). 

Of course, Raksin did much more than just write the music for Laura. He worked regularly in film and then television for four decades. His film scores include: Whirlpool (with Preminger and Gene Tierney again), the TV series Ben Casey, and The Bad and the Beautiful (the theme is also known as "Love Is for the Very Young"). He earned Oscar nominations for his scores for Forever Amber and Separate Tables. One of his first Hollywood jobs was arranging the music for Charlie Chaplin's Modern Times.

Like many other classic film composers, such as Erich Wolfgang Korngold, Raksin wasn't properly recognized until the 1970s. In 1975, RCA released an album with David Raksin and the New Philharmonic Orchestra playing selections from Laura, The Bad and the Beautiful, and Forever Amber. Subsequent Raksin albums have followed over the years.

Later in life, David Raksin taught at USC and UCLA. He died in 2004.