The Blade (1995 Hong Kong)
Nominated for 2 Hong Kong Film Awards, including Best Costume & Makeup Design and Best Action Choreography
Peter Martin - Managing Editor
Tsui Hark's films sometimes defy easy comprehension. Early in my immersion into Hong Kong cinema (circa 2000), I remember watching Swordsman II twice and still having no earthly idea what was going on. And, all these years later, that's how I feel about The Blade, whose narrative I found difficult to follow, a challenge exacerbated by the poor quality of the English-language subtitles on the VCD I own. (Frankly, I'd forgotten I still had this in my possession, but I'm sure the low quality of the visuals is what put me off from watching it all the way through before now.)
Yet the visual storytelling is spectacular, one action set-piece after another bursts into life in a whirlwind of brute emotion and dazzling motion. Inspired by Chang Cheh's The One-Armed Swordsman, itself a great, groundbreaking film, Tsui updates it magnificently, making for a down-and-dirty picture. It's an epic told, in part, by young Ling, whose father owns Sharp Manufacturer - guess what they make! - where she fantasizes about a romantic triangle with two strapping young men, Iron Head (Moses Chan) and On (Vincent Zhao Wen Zhou). Circumstances divide them, and then vengeance must be paid, and the film quickly gallops into sequences of swordplay involving dozens of performers that betwitch and bedazzle.
Once Upon A Time In China (1991 Hong Kong)
Winner of 4 Hong Kong Film Awards including Best Director and Best Action Choreography
James Marsh - Asian Editor
It's no secret that my knowledge of golden era Hong Kong Cinema is limited, but one film that stood out on the long list of films I hadn't seen was Tsui Hark's Once Upon A Time In China. It was actually on my List of Shame for last year's Full Disclosure, but ended up getting bumped off due to availability at the last minute. I was not about to let that happen again, and have actually gone so far as to acquire a box set of the first three films in the series. Let's see how long it takes me to watch the other two.
I'm no stranger to the films of Tsui Hark, and am a particular fan of Peking Opera Blues, as well as recent efforts such as Flying Swords of Dragon Gate and the first Detective Dee film. There's no real reason why I hadn't got to OUATIC before now, and as expected, it proved a thoroughly entertaining combination of exhilarating martial arts and beautiful cinematic artistry. Tsui's fluid camerawork, rapid fire editing and almost fantastical staging give his films an operatic theatricality that is wholly unique and instantly identifiable.
Jet Li is suitably stoic and noble in his role, and impressively nimble during his numerous fight sequences. Meanwhile the British and American villains are suitably dastardly, as the plot skirts past intriguing themes such as slave labour, human trafficking, and China's reluctance to embrace Western influence and modernisation as it bounds from one action scene to the next. I was slightly disappointed at the film's lack of interesting female characters. Tsui often manages to provide excellent parts for women in his films, but Rosamund Kwan's "13th Aunt" was somewhat underdeveloped and used merely as a pawn in the mens' schemes. However, the film resonates with enough of Tsui's signature style to make up for this minor flaw.
Once Upon A Time In China (1991 Hong Kong)
Winner of 4 Hong Kong Film Awards including Best Director and Best Action Choreography
Christopher O'Keeffe - Contributing writer
When looking at Tsui Hark’s filmography, having the 'Once Upon A Time In…’ prefix really made this film stand out, but also gives it a lot to live up to. Despite hints at some pretty weighty issues in China’s history; foreign occupation, immigration to America, loss of tradition etc., the slapstick humour and kung-Fu sequences make this more OUATI Mexico than OUATI America. That’s not necessarily a bad thing as it’s a lot of fun with some outstanding fight scenes with what must be the early use of wirework, which would be amped up to extremes later in the likes of Crouching Tiger, Hidden Dragon.
Jet Li is excellent; not just for the physical stuff he excels at but the subtle way in which his character slowly begins to realize that China must adapt to survive is nicely done. The rest of the cast are a combination of the fun and the flaky, Porky is brilliant, and the rival martial arts master is interesting, but some characters feel underdeveloped, the ropey American martial arts guy in particular.
Once Upon A Time In China (1991 Hong Kong)
Winner of 4 Hong Kong Film Awards including Best Director and Best Action Choreography
Jaime Grijalba - Contributing writer
Not being an expert in the martial arts genre (though I have seen about a couple of dozen from various artists of the form), I found myself searching for a pure masterpiece. I may have been inclined to say that more recent movies were, but I was still looking for a hardcore, great, classic that I could call a masterpiece. I hadn't seen this movie from Tsui Hark before (I have only seen his Detective Dee films and not much else), and I think I have found what I was looking for. This movie is a masterpiece.
Entertaining, emotional and complex, Once Upon A Time In China has everything you'd expect from a kung-fu film and much more, especially since it takes place in a time that was hard for traditionalists in China. There's a line that's repeated many times, that "China has changed", and maybe that was the point when the movie was made, with the liberation of Hong Kong something close to becoming a reality. While the movie does have sequels, it maintains some kind of integrity as its own thing, by creating a world with conflicting powers. There's no time for one still moment, there's always movement and action and things that need to be taken care of. The last hour of the movie is almost relentless in its action sequences and the beautiful way in which they play.
The humour and the characterizations also make this movie a much better experience, something as diverse, entertaining and deep as this film is something that should be applauded. It's one of the most surprising experiences I had in film in a long time. An illuminating series of sequences that remind you that martial arts films aren't something that should be swept under the rug just because of that denomination as such. I now have a new favourite film, what else can I say? I'm flabbergasted at the craft and choreography in this movie, the expertise of Jet Li and the way this movie is edited so it's never a drag. A true masterpiece of cinema.
Once Upon A Time In China (1991 Hong Kong)
Winner of 4 Hong Kong Film Awards including Best Director and Best Action Choreography
James Dennis - Contributing writer
For me, Tsui Hark has always been the guy that produced many of John Woo's beloved heroic bloodshed pics. Until this point I'd (truly shamefully) only seen Knock Off and Double Team... which I remember kind of enjoying as straight-to-video, disposable actioners. Granted, that was a few years back and memory may not serve me well in that regard. To reacquaint myself with Tsui Hark I settled on Once Upon A Time In China, largely based on its profile as a landmark of 90s HK cinema (and Mr. James Marsh's recommendation).
I'm not a fan of period martial arts movies to say the least, so I went in with some trepidation. It's not that I'd seen a great deal, they just hold little appeal for me. In truth Hark's well-crafted piece has done little to change that, though I appreciate the skill behind the movie, not just directorially but from the young Jet Li in particular. A thematic homage to Sergio Leone's defining western, lamenting inevitable and unstoppable changes to the old world, it stands out (within the kung-fu genre) by virtue of its lofty concerns detailing the clashes brought on by increasing globalisation.
The fight sequences are impressive indeed and the physical dexterity on show is magnificent to behold. Yet I couldn't engage with the movie or its characters. I found the epic themes restricted by a terribly set-bound aesthetic which hampered my immersion. Much of the humour is grating and the American and British villains are laughably drawn. Wong Fei Hung's (Jet Li) crew are more fleshed out, yet delineated by being 'buck toothed' (Buck Teeth Soh) or fat (Porkie Wing) which just doesn't wash. Maybe time hasn't been kind, or maybe it's just personal taste.
I'm glad to have seen Once Upon A Time In China, but can't say it left me hankering for more Tsui Hark anytime soon.
Once Upon A Time In China (1991 Hong Kong)
Winner of 4 Hong Kong Film Awards including Best Director and Best Action Choreography
Kwenton Bellette - Contributing writer
Having seen some obscure gems from Tsui Hark, from his Dragon Gate Inn remake to Green Snake, I felt pretty confused as to why I hadn’t seen Once Upon A time In China until now.
Considering that the film breached the mainstream and became a veritable franchise and featured Jet Li doing what he does best, it is odd the film never piqued my interest or was seen in any context. Further to this, friends have the trilogy box-set that was released in Australia and it is often cited in many conversations I have had, but it has fallen by the wayside for the longest time.
What I did not expect when watching it was how blindsiding it is. The film is a great entertainment for sure; it lures us in with slapstick and dark humour. As the film progresses however, the sense of confusion, loss of identity and absolute corruption and control exhibited by foreign forces turn the film to a tragedy.
The farce is still played upon and there is plenty of jaw dropping action scenes, but considering the ultimate narrative the fights mean little in the context of this strange occupation in history and thus I left the film feeling bemused and a little worse for wear, something I certainly never expected.
The film begins as it ends, with a martial arts demonstration on a shimmering beach and the theme song that denotes struggle, the story is certainly not over. For Tsui Hark to make a supposedly entertaining film so gruelling and thought-provoking is a part of his natural genius as one of Hong Kong’s most revered filmmakers, and I look forward to completing the Wong Fei Hung series.
Once Upon A Time In China (1991 Hong Kong)
Winner of 4 Hong Kong Film Awards including Best Director and Best Action Choreography
Patryk Czekaj - Contributing writer
This List of Shame seems like the perfect place for shameful confessions, so here goes: until this week I wasn’t very familiar with Tsui Hark’s films. In fact, Once Upon a Time in China is my first ever. Truthfully, I never really got a chance to explore his body of work. Though I wasn't exactly sure where to start, I decided to pick up a feature recommended and highly praised by many fellow cinephiles.
At this point I’d like to thank James Marsh, Full Disclosure’s coordinator, for choosing Tsui Hark as February’s filmmaker. His decision not only encouraged me to watch Once Upon a Time in China, but also awakened my interest in the legendary director’s filmography.
Apart from being a masterfully choreographed martial arts flick, Once Upon a Time in China is indeed a tightly paced, historically relevant adventure epic. Very stylish and adequately entertaining, it often feels like a consciously nostalgic ode to the classical, clean way of fighting. Jet Li’s breathtaking performance only confirms why hand-to-hand combat is so much more spectacular than any gunfight will ever be. “You can’t fight guns with kung fu”, he claims, and executes a series of acrobatic manoeuvres both on the ground and on long ladders. I couldn't believe my eyes. Oh, that opening rain scene in The Grandmaster? The influence is obvious.
Even without precise knowledge of China’s history it’s actually very easy to follow the story. Well-developed characters make Hark’s astute observation on social turmoil very accessible. Though they’re perfectly aware that changes in the invaded country are inevitable, they still want to show their Chinese pride. Jet Li impresses, but it’s Kent Cheng who, despite his hilariously mocking attitude, becomes the most simpatico figure of the bunch.
This year’s goal: watch as many Tsui Hark films as I can.
Once Upon A Time In China (1991 Hong Kong)
Winner of 4 Hong Kong Film Awards including Best Director and Best Action Choreography
Pierce Conran - Contributing writer
Having watched a number of Tsui Hark’s films over the years, generally around the time of their release, it seemed high time to jump back into his extensive back catalogue and tackle what is arguably his most famous film, the first installment of the Once Upon a Time in China series. Credited with kickstarting the period martial arts epics craze of 1990s HK cinema, Once Upon a Time in China features all the trademarks I’ve come to expect from Tsui in his more recent films.
Unlike kung fu classics featuring Bruce Lee, Jackie Chan or Donnie Yen, Tsui Hark’s films seem less preoccupied with demonstrating one fighter’s extraordinary (and tightly choreographed) ability, than with invading the screen with an avalanche of cause and effect. Fights almost never take place in open or unencumbered spaces as most of his films’ budgets seem to be spent on destroying sets and props in elaborate fashion. It’s messy but very fun. Though CGI has led to more elaborate set pieces in his Detective Dee films, it’s hard to beat the real thing. One thing that surprised me, as I saw this in HD, was that Jet Li clearly had a stunt double. It never occurred to me that a martial arts star would have used one.
It’s a bit too long and not altogether memorable but Once Upon a Time in China is a solid slice of 90s kung fu fun.
Once Upon A Time In China (1991 Hong Kong)
Winner of 4 Hong Kong Film Awards including Best Director and Best Action Choreography
Shelagh M. Rowan-Legg
I’ll admit, this is only the second Tsui Hark film I’ve seen (the first being Detective Dee And The Mystery of the Phantom Flame a few years ago at TIFF). I’m never been a big fan of martial arts films. I think because whenever a friend talks about them, they always talk about the action; and don’t get me wrong, I love a good action film, but there has to be a good story to go with it. And since no one ever told me if any of these films had a good story, I was never attracted to them. (And I’m sure a lot of them do, please recommend!)
Due to a variety of circumstances, this was the only Tsui film available at my college library, and sadly, I could not get it off the English dub setting. Obviously, this was not the best viewing scenario. I can’t say that I quite followed all the details of the story, or that as a whole I enjoyed it. But there were sequences I loved. The opening on the beach (like a mega-martial-art intense twist on the opening of Chariots of Fire); the slow motion sequences (perhaps an influence on Crouching Tiger, Hidden Dragon); the two guys balancing on a pyramid of ladders (please someone tell me that wasn’t fake). There was also a lot of great comedic moments (though that might have been the effect of the dubbing) and a bit of a b-movie feel (again, that could have been the dubbing).
I’m not sure this has sold me on seeing more of Tsui’s work; I enjoyed it, but not enough. Not because he isn’t a great filmmaker, he is, it’s just not to my taste. But if anyone out there can recommend other films of his, let me know.
Zu: Warriors From The Magic Mountain (1983 Hong Kong)
Nominated for 5 Hong Kong Film Awards, including Best Picture
Ard Vijn - Contributing writer
Tsui Hark is not my best-known filmmaker. I've probably seen more films produced by him than films directed by him, but those all stood out for visual flair and their willingness to go all-out insane when necessary. When Tsui Hark has an idea in his head, he fully goes for it apparently. Even his films with Jean-Claude Van Damme stand out for barmy ideas and some incredible, never again seen camera-moves.
One of Tsui Hark's most popular films of old is Zu: Warriors From the Magic Mountain from 1983. It stars Yuen Biao, Sammo Hung in two roles, and Brigitte Lin, so there are all the reasons I needed to see it! But good grief, is this film outrageous.
Things stay pretty normal with a five-fold civil war in 5th century China, until a soldier hides in a tomb and gets attacked by some pretty eerie glowy-eyed ghosts. Before you can blink you have priests, magical countesses, a wizard who fights with his eyebrows, vampires... Oh, and everything flies all the time: people, weapons, plates, elephant statues, you can name it, it gets airborne.
Special effects being what they were in 1983, you also get to see a lot of cables, harnesses, and hand-drawn lightning bolts whenever wizards and demons decide to duke it out in mid-air, but it all adds to the totally manic atmosphere.
So did I like it? Yes, I sure think I did. I'm not sure though, because it must be the most manic film I've seen in ages, and now I'm punch-drunk.
A Chinese Ghost Story: The Tsui Hark Animation (dir. Andrew Chan, 1997 Hong Kong)
Winner of the Golden Horse Award for Best Animated Feature
Niels Matthijs - Contributing writer
I bet most people had an easy time picking a Tsui Hark film, not me though. While I'm not a hardcore fan of Hong Kong cinema, I've been tearing through the oeuvres of Hong Kong's biggest directors for the past five years or so. The result? Apart from two TV series and a film they didn't even bother to give an English title, I've seen all 40+ films directed by Tsui Hark. Luckily those Hong Kong directors are pretty versatile, so while rummaging through Hark's production work I found a pretty interesting title to fill in.
A Chinese Ghost Story: The Tsui Hark Animation is one of Hong Kong's better attempts at giving the local animation industry a much-needed boost. Sadly there weren't many films to follow in its footsteps. The film is clearly built on years of outsourcing work done for Japanese animation series, but producer/writer Hark and director Andrew Chan do make an effort to differentiate the film from their Japanese counterparts. While not entirely successful, A Chinese Ghost Story is unique enough to hold its own.
Hark's A Chinese Ghost Story is a reimagining of Ching Siu Tung's popular live action series, though at times the film felt more like a Chinese reimagining of Night On The Galactic Railroad. Even though Chan directed the film, Hark's hand is clearly visible in the final result. Crazy pacing, plotlines that run all over the place and lots of goofy cheese make for an enjoyable and entertaining ride, but high quality cinema this ain't. Still, if you're interested in the Hong Kong animation scene it's a fun flick with a unique blend of traditional and CG animation, quite a few funny gags and plenty of local folklore.
Knock Off (1998 USA/Hong Kong)
Simon Cocks - Contributing writer
Knock Off may seem an odd choice when you consider it’s the first Tsui Hark film I’ve ever seen. It is also the only offering from the director available on Netflix in the UK and I was pushed for time, so it’s what I watched.
It’s hard to know where to begin with this bizarre counterfeiting-themed action comedy. Knock Off stars Jean-Claude Van Damme and Rob Schneider as men unwittingly selling fake jeans. At least that’s where it starts out, where it goes from there involves the CIA and, somewhat unsurprisingly, the Russian Mafia. The scripting is rather dull and lifeless, filled with recycled clichés and jokes that rarely work.
However, the writing makes for an odd juxtaposition with the camerawork that is full of energy and inventiveness. I found this film simultaneously boring and remarkable as the story puts you to sleep while the action slaps you in the face with its entertaining strangeness (not unlike Schneider repeatedly whipping Van Damme with an eel, something that actually happens here).
The camera’s perspective finds itself anywhere and everywhere, from within Van Damme’s shoes, to on a glasses lens being flung at someone’s neck or straight up the barrel of a gun. The director clearly has an interest in following the objects that are used as weapons in the frenetic action scenes, and it does imbue Knock Off with a certain liveliness that it wouldn’t have had otherwise.
Honestly, though, I’m not sure there’s a purpose to the exciting camerawork and I won’t pretend that I like the film as a whole. Knock Off is awfully dubbed, terribly unfunny and frequently uninspired. Van Damme does his best in the action scenes but this weird crime tale didn’t work for me.
