10TH ANNUAL OLD SCHOOL KUNG FU FEST: REVIEW ROUND-UP #2 of 2

CLICK HERE TO READ REVIEW ROUND-UP #1

The end of April serves as a special time for marital arts film fans, especially those who reside in New York City. For the past decade, SUBWAY CINEMA has made NYC home for the OLD SCHOOL KUNG FU FEST (OSKFF). In its 10th year, OSKFF embraces the theme of SWORD FIGHTING HEROS, with a special emphasis on the beautiful ballet that is Wuxia. Known for their operatic stories, wire-rigged stunts, and lush costumes and settings, Wuxia films embrace Chinese history and Martial Arts fighting in a wholly unique way. Even those who are unfamiliar with the genre probably know of its most successful film, ANG LEE’s CROUCHING TIGER, HIDDEN DRAGON. Well, we have been blessed here at Macabre Daily with the opportunity to watch and review a selection of the films screening during the festival, and as we close out our coverage of this festival we encourage everyone to check out these films!

VENGEANCE OF THE PHOENIX SISTERS (1968)

Director: CHEN HUNG-MIN

Runtime: 87 minutes

Black & White films can be a hard sell for a certain kind of crowd, and anyone who enjoys them will tell you what you’re missing out on if you abstain. Well, I’m here to add to that chorus of righteous folks to let you know that VENGEANCE OF THE PHOENIX SISTERS is a film not to be missed! In glorious Black & White, with a brand-new restoration, I truly hope that this film gets a wide release on physical media sometime in the near future.

Like so many Wuxia films, this Taiwanese production centers around three sisters who are separated at birth after the murder of their father. Coincidentally reunited as they all share the same path to vengeance, striking down those responsible for their father’s murder all those years ago. It’s really classic and straightforward, in fact, it’s one of the easier films to follow narratively because it is such a simple story. What makes this one sing is just how much fun the whole film is! Playing out with heaps of action, and women kicking serious ass, VENGEANCE OF THE PHOENIX SISTERS lends itself more to the fighting than other flourishes.

To be fair, it is a beautiful film that looks to have been lovingly restored regardless of age. Those who don’t enjoy older cinema techniques might be distracted by some of the jumpy edits, but nevertheless, it’s not a strike against the film at all. It adds to the character and excitement, in particular considering the limitations at the time to execute such stunts. Part of enjoying Wuxia, and martial arts cinema more broadly, is observing the choreography and technique in relation to similar films of the time. Even though stunt work had come a long by 1968, we didn’t get anything like this in the US at this time.

NIGHT ORCHID (1983)

Director: CHANG PENG-I

Runtime: 89 minutes

NIGHT ORCHID is hands down, my favorite Wuxia film I’ve seen…thus far. This particular version is a brand-new 2K remaster, and it looks absolutely divine to go hand-in-hand with the downright zaniness of this film! It mixes elements of fantasy, melodrama, horror, and more to make something that feels like sugar-rush cinema. The plot can get a bit unmanageable, but that shouldn’t distract from the gleeful and gory beauty bestowed upon the screen.

Plot-wise, NIGHT ORCHID isn’t a complicated movie. What is complicated is trying to explain all the things that occur within the small space of 89 minutes. Essentially, someone has murdered both sides of a clan to try and lure out and kill Chu Liu-xiang. In the process, Chu Liu-xiang realizes that there might be multiple culprits all with their own reasons to try and orchestrate this violent chaos. Ultimately, it might be the people closest to him he should be the most weary of. High drama, and also, high amounts of sensuality and bloody violence. The stunts and action in this one are second to none considering the period of production, and for my money, this is one of the most fun viewing experiences I’ve had with this genre. 

What makes NIGHT ORCHID stand out really boils down to the mile/minute plot. No second is wasted in this film as we are sent through an almost dizzying amount of plot points in between copious amounts of wirework fighting, decapitations, and impalements. Strangely, the film never veers too dark and always carries a more docile tone mixing violence with humor and not overdoing either in any way. This is a film many folks would enjoy, and best to go in blind just to get immersed in the madness.

THE KING OF WUXIA (2022)

Director: LIN JING-JIE

Runtime: 320 minutes

King Hu is a name that the average North American may not be familiar with, but for martial arts film enthusiasts, King Hu is a legend. He reinvented the Wuxia genre into what it ultimately would become most known for, and his imprint is undeniable on World Cinema. This lengthy two-part documentary clocks in at 3 hours and 40 minutes, and yet, the density of the film feels just as mystical and nature-like as the films King Hu created. In that way, it is a fitting retrospective both tonally and informationally.

Collector’s Crypt readers might remember we covered COME DRINK WITH ME from ARROW VIDEO. That is one of many Hu productions, and while it’s one of his more well-known, it’s just one of many in relation to the overall importance of impact. King Hu is someone who is deeply respected and revered across continents, and the first part of this documentary focuses explicitly on his films. Speaking with various collaborators and famous fans, they reflect on not just the quality of his efforts, but also the personal meaning they carry for each of them. Whether it was how they felt working with him, or what about his films inspired something in their own creative journey. It's an endearing and robust summation of a career that clearly is still relevant today.

The second part of the documentary takes a more biographical approach to King Hu’s life and career. Starting in his days of acting in operas, the source material for many Wuxia films, and then working his way through various engagements until he was creating his own films with his innovative approach to both filming choreography and cinematography. This dives into the life of the man as told by those who were closest to him, and you can tell that their admiration runs deep regardless of his passing in 1997. This is a wonderful bookend to a long, and worthwhile story about someone who changed cinema forever.

WE WANT TO THANK SUBWAY CINEMA FOR SHARING THESE REVIEW COPIES WITH US!

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