What is the most recent Shaw Brothers film you've seen?

[morpheus]

Ambush (1973)

Actor Chao Hsiung started his screen career in the mid 60s, but is perhaps well-known for being the victim of Chao Chi Hao, having been “Iron Palmed” into a concrete wall during the culminating fight in King Boxer (1972).  Prior to that, Chao Hsiung starred in a mid-tiered ”actioneer” piloted by Ho Meng Hua. Finished in 1971, but released in early 1973, Ambush was shelved for over a year and features Chao in the leading role. 

The audience is treated to a short, cold open commencing with three men on horseback arriving on the grounds of the Zhen Bei Security Bureau.  Inside, we find Chief Wan Gong Yu (Lee Pang Fei) asking his cousin, Chief Fan Zhi Long (Yang Chi Ching) for additional assistance in escorting rare jewels to the capitol.  Chief Wan, who also operates a successful security business, has aged, and with his constable son on assignment, he has fewer guards to protect the valuables in transit.  Fan meanwhile, agrees to help, assigning his three best men to facilitate the journey.  All appears well, save for a man -later revealed to be Tu Ba (Wong Hsieh)- eavesdropping on the conversation.

Credits role as the expedition continues on what appears to be the following day.  As the caravan nears a turn, Tu Ba and a group of men lie in wait against a cliff as the carriage hosting the jewelry makes an attempt to pass above.  An ambush led by Tu Ba ensues, Chief Wan and his men are double crossed by Fan’s three loaners as well as Chief Fan himself.  While Wan displays the skills of what made him great, he and his guards are unable to overcome the opposing entourage that greatly outnumber them.

Wan’s son, Constable Chao Fan (Chao Hsiung) later arrives on the scene to assess the damage; everyone save for his father is accounted for in the body count.  However, instead of being helped, he is wrongly charged with conspiring with his father to ambush the escort, as a dying guard supposedly scripted the accusation on the sand, in his own blood (mindfully, upside down.). 

Seeing no way out of the fix, the lesser Wan swashbuckles his way to an escape -taking him to the Don Bo restaurant on the fringe of town.  Here, he is met with more animosity from the entire staff as rumours of the jewel thief appear to have been quickly forwarded.  As Chao juggles the task of escaping and clearing his father’s name, Chief Fan and Tu Ba agree to settle payment at an abandoned house in Windy Valley.  Sometime later, Chao would confront Chief Fan at Zhen Bei Security, only to have matters complicated by a previous relationship with Fan’s current mistress Chan Niang (Kong Ling) as well as his own cousin Fan Shiou Shiou (Li Ching).

Tension comes to a climax when Chan’s attempt to rekindle her relationship with Chao fails to materialize.  She later finds her master, Chief Fan, stabbed to death with Chao’s dagger.  Having no alibi or support, Chao escapes once again with the government authorities, the Zhen Bei Security, his cousin, and former lover looking to bring justice.  Adding additional weight to Chao’s burden of proof is a stalker in black, is he friend or foe? 

Greed has been with human beings forever. We have a number of things in our species that you would call 'the dark side,' and greed is one of them. If you don't put certain structures in place or restrictions on those parts of our being that come from that dark place, then it gets out of control. 

-Michael Moore

The theme of human greed has been covered many times over in history from Charles Dicken’s A Christmas Carol and John Steinbeck’s The Pearl to The Good, The Bad, and The Ugly (1966) by Sergio Leone and The Duel for Gold (1971) by Chor Yun. In each case, the message is the same: Greed eventually leads to destruction, be it for self, others or in many examples, both.  Being one of the Seven Deadly Sins, this excess of human desire suffers the same consequences in Ambush. While the lens focuses on the quest of Chao Fan, the underlying theme attempts to distract us a bit; warning viewers of the dangers of covetousness, as such a sinful act will penetrate the boundaries of relationships, friendships, and familial ties. 

While Ambush starts well, it falters and trips over its own twists and spirals by introducing too many characters, and providing bizarre cover stories to justify changes .  The film makes a valiant attempt to be great, much like that ‘C’ student who studies the entire night only to score a 79% on the final assessment.  I still find it amazing that among proper authorities to whom Chao attests his innocence, he simply uses his scabbard or pommel to not inflict mortal wounds and yet these tunnel-visioned men are perhaps too dull to process this. The action is plentiful, and the choreography does deserve attention.  Chao Hsiung brings a bit of grit and toughness to the character and his handiness with a sword or fist prevents his Chao Fan from becoming fried rice.  There is a bit of film reversal that looks pretty cool -especially the re-dressing sequence where Chao puts on his shirt before leaping onto the rooftops .  And while the film is classified as an "action," it also touches the horror and mystery genres, along with a bit of stand-ins for nude scenes.  The remaining cast save for Li Ching -who portrays a helpless onlooker- is not from the Shaw A-list. Be on the lookout for cameos and mini roles from Yuen Wah, Unicorn Chan, Alan Chui, and Ching Siu Tung.  While definitely a second reel of a double feature, Ambush still retains enough value to watch, if not for the action sequences and the final fight…..or second to final fight to be exact.

 

Edited January 1 by morpheus

[saltysam]

Hadn't seen Magnificent Trio for many years, picked up the old DVD. What a shitshow, non anamorphic and subs disappear off the screen when you zoom in.This needs a proper release.

[Killer Meteor]

8 hours ago, saltysam said:

Hadn't seen Magnificent Trio for many years, picked up the old DVD. What a shitshow, non anamorphic and subs disappear off the screen when you zoom in.This needs a proper release.

The Momentum Asia release?

[saltysam]

3 hours ago, Killer Meteor said:

The Momentum Asia release?

Yep, the momentum disc

[Killer Meteor]

4 hours ago, saltysam said:

Yep, the momentum disc

20 years ago...and rather poor, even back then!

The film is quite good.

[Knetan]

THE BUTTERFLY CHALICE (1965, Yuan Qiu-Feng & Chang Cheh) - 3/5

Making his directorial debut at Shaw Brothers, Chang Cheh, who had previously worked as a screenwriter for the studio, began exercising his creative instincts as co-director here. It might be surprising to find the voice of Shaw Brothers’ future leading director emerging in a Huangmei opera, but Chang Cheh unmistakably puts his stamp on The Butterfly Chalice—at least for part of the film.
Blending dialogue and song in equal measure, Chang Cheh’s script presents an engaging moral dilemma. Chin Feng (The Female Prince, 1964) plays Tian Yu Quan, the son of a magistrate who, while defending an elderly fisherman, accidentally kills the son of a judge in the ministry. Protected by Hu Feng-Lian (Pat Ting Hung, Princess Iron Fan, 1966), it is revealed that her father was the fisherman who died in the attack. The two connect emotionally, and Tian Yu Quan gifts her his family’s betrothal heirloom, the butterfly chalice, before going on the run. Hu Feng-Lian, in turn, presents the chalice to Tian Yu Quan’s family and vows to protect him in court, taking on the system to ensure justice.

The moral dilemmas at the heart of the story are engaging, especially as they grow more layered. A slight comedic undertone makes the drama more palatable, steering it away from the heavy-handed tragedy often associated with similar narratives. This tonal shift is welcome, even mildly bold for its time. However, things take an unexpected turn when the film introduces a subplot involving bandits, showcasing Chang Cheh’s distinctive flair for blood and violence.

Right out of the gate, Chang Cheh announces his signature style in this sequence: characters are impaled, slashed, and brutally dispatched. A sword planted in a bandit’s face and splashes of blood across the frame feel startlingly jarring in the context of a Huangmei opera. It’s a tonal swerve that may divide audiences, but it undeniably foreshadows the director’s future in redefining martial arts cinema.

Despite its unevenness, The Butterfly Chalice remains a fun and visually attractive Huangmei opera. The production boasts elegant framing and strong production values that elevate the storytelling. Sharp-eyed viewers can spot a young Lo Lieh and Wu Ma in minor roles, adding an extra layer of charm for Shaw Brothers enthusiasts. Also starring Chiang Miao and Tien Feng, The Butterfly Chalice stands as a fascinating debut for Chang Cheh—offering early glimpses of the bold style that would later dominate his celebrated career. 

 

Edited January 5 by Knetan

[ShawAngela]

27 minutes ago, Knetan said:

THE BUTTERFLY CHALICE (1965, Yuan Qiu-Feng & Chang Cheh) - 3/5

Making his directorial debut at Shaw Brothers, Chang Cheh, who had previously worked as a screenwriter for the studio, began exercising his creative instincts as co-director here. It might be surprising to find the voice of Shaw Brothers’ future leading director emerging in a Huangmei opera, but Chang Cheh unmistakably puts his stamp on The Butterfly Chalice—at least for part of the film.
Blending dialogue and song in equal measure, Chang Cheh’s script presents an engaging moral dilemma. Chin Feng (The Female Prince, 1964) plays Tian Yu Quan, the son of a magistrate who, while defending an elderly fisherman, accidentally kills the son of a judge in the ministry. Protected by Hu Feng-Lian (Pat Ting Hung, Princess Iron Fan, 1966), it is revealed that her father was the fisherman who died in the attack. The two connect emotionally, and Tian Yu Quan gifts her his family’s betrothal heirloom, the butterfly chalice, before going on the run. Hu Feng-Lian, in turn, presents the chalice to Tian Yu Quan’s family and vows to protect him in court, taking on the system to ensure justice.

The moral dilemmas at the heart of the story are engaging, especially as they grow more layered. A slight comedic undertone makes the drama more palatable, steering it away from the heavy-handed tragedy often associated with similar narratives. This tonal shift is welcome, even mildly bold for its time. However, things take an unexpected turn when the film introduces a subplot involving bandits, showcasing Chang Cheh’s distinctive flair for blood and violence.

Right out of the gate, Chang Cheh announces his signature style in this sequence: characters are impaled, slashed, and brutally dispatched. A sword planted in a bandit’s face and splashes of blood across the frame feel startlingly jarring in the context of a Huangmei opera. It’s a tonal swerve that may divide audiences, but it undeniably foreshadows the director’s future in redefining martial arts cinema.

Despite its unevenness, The Butterfly Chalice remains a fun and visually attractive Huangmei opera. The production boasts elegant framing and strong production values that elevate the storytelling. Sharp-eyed viewers can spot a young Lo Lieh and Wu Ma in minor roles, adding an extra layer of charm for Shaw Brothers enthusiasts. Also starring Chiang Miao and Tien Feng, The Butterfly Chalice stands as a fascinating debut for Chang Cheh—offering early glimpses of the bold style that would later dominate his celebrated career. 

 

AND... Chang Cheh wrote the lyrics for this movie!

I watched it long ago, I have to watch it again and spot Lo Lieh and Wu Ma!

[Knetan]

8 minutes ago, ShawAngela said:

AND... Chang Cheh wrote the lyrics for this movie!

I watched it long ago, I have to watch it again and spot Lo Lieh and Wu Ma!

Indeed! I believe he semi-consistently received lyric credits for a selection of his films throughout the 1960s—there was always room for a song.

Lo Lieh is in said violent sequence and Wu Ma might've been a waiter.

Edited January 5 by Knetan

[ShawAngela]

14 amazons 1972

I just finished to watch the Arrow disc, and I spotted Yuen Biao as a Yang soldier in the end fight. Checking the hkmdb page made me discover that a lot of our famous stars were also in it : Wong Yuen San, Chang Li, Bruce Liang, Lee Ka Ting, Chan Lau, Addy Sung, Michelle Yim, Henry Yu Young and a lot of other ones who I didn't even spotted, except Wang Kuan Yu!

Am I the only one to have experienced some freezing during some scenes, and even some scenes that were in very, very fast motion, such as the fight between Ling Po and Lily Ho, and later a fight in the forest? I don't remember of this phenomenon on the other releases I have of this movie, but maybe I'm mistaken.

[ShawAngela]

Usurpers of emperor's power 1983

Third viewing in 15 years. The first time, I didn't like it all. The second time... I don't remember how I felt!

This evening...well, I think that it's a good movie, but I can't put it in my top of the top ones at this moment, I don't know why...

[HeavenSword]

The Silent Swordsman (1967) - First off, the title has nothing to do with the movie . But it’s a Historical war picture that has Chang Yi being sent out to capture a corrupt general that has sided with the opposite side during war. 

All of the reviews I’ve seen of this  have given it either two stars or lower but I gotta say…..I really enjoyed this film. One of the thoughts that popped in my head watching this was that this type of production became almost non existent in Shaws later years . This is a b-tier film , yet it has such an epic, A-list feel to it , with huge , lavish sets, beautiful costumes and a lot of outdoor shooting . 

The Silent Swordsman is more of a historical / political film, though it does have large scale battles and lots of cool weapons and powers like fans that shoot out blades and a unique eagle claw technique . The middle section though is classic hong kong tonal whiplash as Chang Yi runs across two beautiful sisters fighting for his attention and the film turns into a romance comedy and gives us two musical scenes , a song and dance number and a little bit of nudity . One moment during this middle section legit made me laugh out loud . 

A pleasant surprise, The Silent Swordsman.…..Oh and look out for a literal blink and you’ll miss it cameo from Lau Kar Leung during the climax . 

Edited January 9 by HeavenSword

[Knetan]

2025 is dedicated to revisiting and refining reviews, while retracing the cinematic paths of iconic directors, once again.

COME DRINK WITH ME (1966, dir. King Hu) - 4/5

Entering the Shaw Brothers studio in 1958 as an actor on the recommendation of mentor Li Han-Hsiang, King Hu was no stranger to putting in the work behind the scenes, performing physical labor and contributing to design work. He was cast in Li Han-Hsiang’s Huangmei opera The Kingdom and the Beauty (1959) while also assisting him on The Love Eterne (1963). King Hu made his directorial debut with The Story of Sue San, a Chinese opera. His sophomore effort, Sons of Good Earth, reportedly had a significant amount of footage excised, partly to accommodate restrictions on portraying racial conflicts in other Asian markets. Shortly after achieving critical and commercial success with Come Drink With Me, which helped propel the Wuxia genre into the spotlight, King Hu left Shaw Brothers. His departure, rumored to have been on bad terms, was partly facilitated by the fact that his contract bound him as an actor rather than a director, giving Shaw Brothers less leverage to retain him.

The action in King Hu's Come Drink With Me may seem soft, stagy, or even crude by modern standards, but its groundbreaking influence on Shaw Brothers filmmaking and the Wuxia pian genre cannot be overstated. This marked King Hu’s first foray into the genre he would be forever associated with, paving the way for his later classics like Dragon Inn and A Touch of Zen. From the start, the film is filled with iconic moments, led by Cheng Pei-Pei’s immortal, breakthrough performance as the swordswoman Golden Swallow. King Hu's inspiration in working with her is evident in his direction, as her grace, charisma, beauty, and fluidity are perfectly complemented by his camera work. His dynamic, flowing camerawork has been aptly described as "a balletic partner to the actors," and if there were ever a director-actor collaboration to exemplify this, you’ll find it right here.

One standout example is the famous inn confrontation, a setting that would become a hallmark of King Hu’s films. Here, he masterfully draws the audience in with silences, sharp camera movements, tense standoffs, and short bursts of action. These moments echo the influence of contemporary Japanese samurai cinema while showcasing the fantastical powers and martial arts abilities unique to the Wuxia genre.

King Hu’s attention to detail extends beyond the action. Character and production design are crafted with equal care, brought to life on the exquisite Shaw Brothers sets. His "floaty" camera and meticulous eye highlight these elements, ensuring a rich visual and aural experience. The score, incorporating traditional percussion and orchestration reminiscent of Peking opera, further elevates the atmosphere. Even if one feels disconnected from the choreography style of the era, Come Drink With Me offers a stylish and immersive journey, particularly in the sights and sounds department.

The tone shifts dramatically in the finale, as Yueh Hua’s drunken beggar takes center stage, delivering an unexpectedly violent and intense conclusion. Notably, the film features darker, more realistic Shaw Brothers film blood, a striking departure from the light red hues that typically painted the studio’s productions. These choices heighten the visceral impact, creating a memorable and gritty climax.

The film also stars Chen Hung-Lieh as the chief villain, Jade Faced Tiger, whose flamboyant menace adds to the visual and dramatic power of this landmark piece of cinema. Come Drink With Me not only elevated the Wuxia genre but also laid the foundation for its evolution, solidifying its place as a classic in martial arts cinema.

The King wasn’t done with his evolution, though. Relocating to Taiwan, he found creative freedom and achieved pan-Asian success with Dragon Inn and A Touch of Zen. These films pushed the genre to even greater heights, cementing King Hu’s legacy as one of its definitive visionaries. The King would return. 

[saltysam]

I hadn't seen it in a long time so i picked up the old OZ DVD of Trail Of The Broken Blade. Disappointingly non-anamorphic but at least the subs stay on the screen when the picture is zoomed up.Good early Wang Yu movie ,a tad melodramatic, needs a remaster.

[Knetan]

14 minutes ago, saltysam said:

I hadn't seen it in a long time so i picked up the old OZ DVD of Trail Of The Broken Blade. Disappointingly non-anamorphic but at least the subs stay on the screen when the picture is zoomed up.Good early Wang Yu movie ,a tad melodramatic, needs a remaster.

I think I bought the digital version, so there is a decent enough HD version available.

[ShawAngela]

I decided to finally dive into my never watched pile of my Shaw Brothers' movies these last days, so, here are some comments on what I watched. 

Sweet and wild 1966

This is a very nice little musical movie in which Li Ching and Ling Yun shine, and Li Kun plays a loyal and clever best friend to Ling Yun. The story shows the plot devised by some rich boys from the city to take revenge on the countryside girls lead by Li Ching, trying to force her to marry an old uncle.

There are nice twists, very good songs, a few fights and some humor. Very nice movie!

[ShawAngela]

Lady General Hua Mulan 1963

Very nice Huangmei movie with some battles and good songs.

Ling Po and Chin Han met on this movie and married after playing together in it, from what I read somewhere a long while ago.

I enjoyed the movie a lot.

[ShawAngela]

Empress Wu 1960

No wonder Li Lihua was so popular and won awards. She is so good in this 112mn movie showing palace intrigues in the Tang Dynasty : plots inside the royal family, plots from bad ministers to badmouth Wu Tse Tian and exile her, how she defends her status as the empress and make the people live in peace for years.

This is a splendid historical movie, with beautiful costumes, sets and sceneries. I enjoyed it a lot too!

[ShawAngela]

Melody of love 1977

I watched this movie this evening. How much I laughed out loud!!

The story shows the efforts made by three single doctors in order to marry three sisters who don't want to.

There are so much funny gags, here, and at the end, the three doctors try their best to join a party to get the girls in an almost demolished car, I laughed without stopping during the whole scenes with the car!

There are also one or two nice songs.

If you are not against watching something else than martial arts movies, then, I recommend this movie, it's very funny, and Danny Lee does a great job in comedy!

[lilmanjs]

Twin Blades of Doom

My first watch of the 5th Shaw Classics set. This movie still kicks butt even with the like 3 plot lines that come together by the end. All tied together by the fierce looking Ghost Gang. This still feels like something from the late 70s Shaw output despite being from 1969. Lots of faster paced, well choreographed fights, acting is superb and the music isn't entirely distracting like a lot of 60s Shaw wuxia stuff. First watch in something better than VCD quality and it really looks great. Seeing some actors playing bad guys who normally don't also makes this a treat. Gave this a 4/5 on letterboxd after viewing the blu ray.

[ChillyChong]

1 hour ago, lilmanjs said:

Twin Blades of Doom

My first watch of the 5th Shaw Classics set. This movie still kicks butt even with the like 3 plot lines that come together by the end. All tied together by the fierce looking Ghost Gang. This still feels like something from the late 70s Shaw output despite being from 1969. Lots of faster paced, well choreographed fights, acting is superb and the music isn't entirely distracting like a lot of 60s Shaw wuxia stuff. First watch in something better than VCD quality and it really looks great. Seeing some actors playing bad guys who normally don't also makes this a treat. Gave this a 4/5 on letterboxd after viewing the blu ray.

Was the plot like hero protecting village against bandits after he killed their original protector in a duel at beginning?remember almost nothing about this

[ShawAngela]

9 hours ago, ChillyChong said:

Was the plot like hero protecting village against bandits after he killed their original protector in a duel at beginning?remember almost nothing about this

Yes, that's the one. The man he killed at the beginning was the brother of the man he saved...

[Knetan]

23 hours ago, ShawAngela said:

Melody of love 1977

I watched this movie this evening. How much I laughed out loud!!

The story shows the efforts made by three single doctors in order to marry three sisters who don't want to.

There are so much funny gags, here, and at the end, the three doctors try their best to join a party to get the girls in an almost demolished car, I laughed without stopping during the whole scenes with the car!

There are also one or two nice songs.

If you are not against watching something else than martial arts movies, then, I recommend this movie, it's very funny, and Danny Lee does a great job in comedy!

The Mou Tun-fei film, I believe. If only they knew the kinds of films he had in him for the future.

[ShawAngela]

Young lovers on flying wheels 1974

Ti Lung's first directorial debut, produced by Chang Cheh.

This is a nice little movie, with a little bit of everything :  romance, comedy (from Dean Shek and Lee Hoi San), fights and a good plot. I e,joyed it very much.

[ChillyChong]

Sentimental Swordsman

Usually Chor Yuen swordsplay movies have complicated plots but this is just opposite which actually feels bit weird thing. Movie is highly addictive though. Ti Lung plays Sentimental Swordsman who many suspect is Plum Blossom villain. Around are lots of characters played by Li Ching, Ku Feng, Norman Chui, Yuen Wah and excellent Derek Yee. Fung Hak On has small but very visible role as villain. Even if next Shawscope is not martial arts themed hopefully arrow has return&perils of sentimental swordsman licenced.

Am taking pause from SS3 as book says Perils is sequel to Clans of intrigue and have Hoker dvd of that.

Edited Tuesday at 12:33 PM by ChillyChong

[Knetan]

On 1/14/2025 at 7:03 AM, ChillyChong said:

Sentimental Swordsman

Usually Chor Yuen swordsplay movies have complicated plots but this is just opposite which actually feels bit weird thing. Movie is highly addictive though. Ti Lung plays Sentimental Swordsman who many suspect is Plum Blossom villain. Around are lots of characters played by Li Ching, Ku Feng, Norman Chui, Yuen Wah and excellent Derek Yee. Fung Hak On has small but very visible role as villain. Even if next Shawscope is not martial arts themed hopefully arrow has return&perils of sentimental swordsman licenced.

Am taking pause from SS3 as book says Perils is sequel to Clans of intrigue and have Hoker dvd of that.

My thought on the first Sentimental Swordsman:

***/5

Chor Yuen delves into another of Gu Long’s wuxia novels, this time adapting Duoqing Jianke Wuqing Jian from the Xiaoli Feidao series, first published in 1968. The story has been a rich source of inspiration across Hong Kong, Mainland China, and Taiwan, with multiple adaptations, including TVB’s The Romantic Swordsman (1978) and Legend of Dagger Li (1999). Upon its release, the 1977 film was both a box-office success and reportedly one of Shaw Brothers’ highest-grossing productions up to that point.

Watching several of Chor Yuen’s wuxia adaptations back-to-back reveals a formula rooted in Gu Long’s narrative tropes. Yet much of the enjoyment and freshness comes from Chor Yuen’s ability to bring these stories to life visually. The intrigue, deception, and fantastical fight imagery in The Sentimental Swordsman might feel familiar to fans of Chor’s other works from the late 1970s, but his collaboration with designers and cinematographers remains a standout. Together, they create elegant, deeply layered, and imaginative settings. Uniquely, this film also features an unusual amount of exterior footage, including striking snowy landscapes. The result is a martial world that feels simultaneously rugged, grounded, dreamy, and visually arresting.

The plot revolves around the search for a protective vest capable of countering the Plum Blossom Bandit, interwoven with poisonous tactics involving frogs and solid-to-thrilling fight sequences (primarily involving the male characters). Despite the large cast, the narrative remains surprisingly accessible. These elements give The Sentimental Swordsman the comforting aura of Shaw Brothers wuxia at its best—familiar yet satisfying. Even if just fairly satisfying. The filmmakers, however, did not rely on auto-pilot or the familiarity of Gu Long’s source material alone. Instead, they infused it with their trademark creativity, ensuring the film stood out.

Chor Yuen returned to Duoqing Jianke Wuqing Jian in 1981 with Return of the Sentimental Swordsman. However, his 1982 follow-up, Perils of the Sentimental Swordsman, shifted to Gu Long’s Lu Xiaofeng novel series, specifically Youling Shanzhuang. Notably, Little Flying Dagger Li, the main character of The Sentimental Swordsman, was absent from this later installment.