Neglected Directors of Shaw: Sun Chung & His Films

[venoms5]

This is an unfinished piece I did on Sun Chung around the time I did the Chang Cheh one. This portion needs a little work itself but I'll get around to finishing and polishing it soon...

NEGLECTED DIRECTORS OF SHAW: SUN CHUNG

SUN CHUNG: STRIFE FOR MASTERY

Considering how much has been written about the big two at Shaw Brothers, directors Chang Cheh and Liu Chia Liang, less has been written or even known about many others who also shared successful and fruitful careers at Shaw Brothers as well as other studio work. Many of these other directors had exposure outside of Hong Kong but not to the extent of the aforementioned Chang and Liu. One such director is Sun Chung.

Little is known about him other than he graduated from film school in Taiwan before joining Shaw Brothers in 1970. Eventually, he would work his way up to directing his first feature--1972's THE DEVIL'S MIRROR. A sort of horror-fantasy-martial arts-gore extravaganza about a search for two magical mirrors that can access an ancient tomb which conceals a powerful weapon called the Fish Intestine Sword. With a nymphomaniacal female main villain with a third eye in her forehead, entertainment is assured. Lots of spectacle is to be found in Sun Chung's first film but there is nothing here that in any way resembles his later signature work. Perhaps since he was a new director, Shaw's would not allow him to try anything too far removed from formula. That's not saying DEVIL'S MIRROR (1972) isn't good. On the contrary, it's a damn fine popcorn movie with lots of blood and violence, but nothing here foreshadows the directors later style of filmmaking.

DEVIL'S MIRROR (1972) performed dismally in HK. Perhaps lost in the shuffle amidst the success of Bruce Lee upon his return to Hong Kong as well as some of Shaw's big hits by Chang Cheh. He had smashes with THE WATER MARGIN (1972), THE BOXER FROM SHANTUNG (1972) and its sequel MAN OF IRON (1972) to name just three of his films released that year. Having initially struck out in the action stakes, Chung then turned his attention to directing comedies and dramas such as THE SUGAR DADDIES (1973) and COHABITATION (1975). Still not yielding any major hits, Chung was paired with director Chang Cheh for an action picture entitled THE BLOODY ESCAPE (1975). Even though Cheh's name is not in the credits, he was used to give Chung a hand considering Cheh's popularity at the time in HK. The film, about a gang whose somewhat lenient leader dies passing ownership to his more vicious son resulting in a rebellion by a righteous gang member also has none of Chung's trademarks. Considering his involvement, THE BLOODY ESCAPE (1975) far more resembles a Chang Cheh movie from beginning to end complete with his "honor among thieves" edicts. Obviously done to give Chung some credit, the film failed to catch audience attention despite a rather good performance by Chen Kuan Tai who became an overnight sensation with the blockbuster BOXER FROM SHANTUNG (1972).

Chung finally got himself a hit with the release of HOMICIDES: THE CRIMINALS PART 2 (1976). He would also direct ASSAULT: THE CRIMINALS PART 4 (1977) which was a bigger success. So far you will have noticed that Chung's career has been varied from genre to genre. Even though he was versatile and keen at adapting to new styles of film, this was possibly done considering the lack of money his films were making at the time leading up to the CRIMINALS series. In between his two crime film successes, Chung would direct two other action films, BIG BAD SIS (1976), a loose third addition in the successful TEAHOUSE/BIG BROTHER CHENG series. Here, Chen Ping, (the Shaw's leading exploitation actress) trains a group of girls how to defend themselves against all manner of scum. It's later revealed that Chen's character used to belong to a triad gang given the large rose tattoo across here chest. Needless to say, her previous boss comes calling on her. Chen Kuan Tai puts in an extended cameo to reprise his role from the above mentioned TEAHOUSE movies. The finale is very exciting with lots of stunts and brutal fights. There is also lots of nudity and sleaze on display including one sordid sex scene that is shot on a see through glass floor with the camera often underneath the glass.

Chung also directed one of his most famous and popular films in 1976, THE SEXY KILLER aka THE DRUG CONNECTION. A true Chinese exploitation classic. This was essentially a Chinese remake of Jack Hill's classic blaxploitation hit COFFY (1973) starring Pam Grier. Only this time, Chung upped the nudity and violence level considerably. The plot more or less remains the same. Chen Ping again stars as a nurse by day, exterminating angel by night avenging the death of her sister at the hands of drug dealers. Her cop friend (Yueh Hua) suspects her but has no evidence. COFFY's finale is also replicated here but in a more explosive manner. The bad guy takes a few more shotgun slugs here than in the other movie. The best sequence is the assault on the big boss's mansion where Ping's character drives a car through the place then proceeds to mow everyone down with her pump action shot gun. Another film displaying Chung’s penchant for delivering the exploitation goods when the need arose. Sort of the ‘Shannon Tweed of the Orient’, Chen Ping had no apparent qualms about shedding her clothes. Whether it be this film (including one fight scene where she fights some thugs minus her top) or any number of her sex films like THE SINFUL ADULTERESS (1974), THAT’S ADULTERY (1975), WEDDING NIGHTS (1976) and CRAZY SEX (1976). She also did a number of action exploitation films starring in some and a supporting player in others like THE KISS OF DEATH (1973), QUEEN HUSTLER (1975), THE OILY MANIAC (1976), THE GIRLIE BAR (1976) and THE VENGEFUL BEAUTY (1978). Chen Ping can also be seen in the Italo-Shaw production THE STRANGER & THE GUNFIGHTER (1974). A truly gifted performer, Chen Ping deserves accolades for delivering some truly exciting characters to the jade screen and going the extra mile where so many others didn’t feel comfortable about going.

Sun Chung also helmed the sequel to THE SEXY KILLER (1976), THE LADY EXTERMINATOR (1977) which also stars Chen Ping. Sadly, this film remains unreleased on DVD at this time. Chung then delivered the suspense drama-sleaze flick FANGS OF THE COBRA aka COBRA GIRL (1977). Sort of a female version of the incredibly nasty THE KILLER SNAKES (1973). At its heart, it's the story of a girl and her pet cobra. The comparison between the two stops there. It’s a completely off the wall film that teeters between a bizarrely dramatic love triangle , gratuitous sexual shenanigans and typical Asian histrionics. The film asks you to believe this absurd story of a female country bumpkin sheltered from the evils of the world by her father. Her only friend is her pet snake, Xi Xi. The two do everything together. The relationship is displayed in the same fashion if it were a dog or a horse but here it is a cobra. Later in the film the naïve but wary young woman meets and falls in love with a young man. The two decide to get married but this strains the relationship with her pet cobra. I’m not making this up. There is also another plotline which makes up the sleaze factor found in the film. Frankie Wei’s character along with his girlfriend try to kill the owner of a plantation by blowing him, his wife and father up in their car on their wedding day in an effort to take over the family business. When this fails, the two conspirators set a mongoose loose on an infant(!) which leads to the inevitable scene where the cobra battles a mongoose. This extended sequence itself is worth seeing the movie guaranteed to rile any animal rights activist. This scene also displays the extreme intelligence of the cobra when the ophidian avenger ascends a table and proceeds to dump a thermos of hot coffee(!) on top of the mongoose. Kind of a step back for Chung, his exploitation films, while highly enjoyable, are near polar opposites when compared with what he would bring to the table in the coming years. FANGS OF THE COBRA (1977) is without a doubt an interesting viewing experience and arguably the most curious entry in Sun Chung’s filmography. It is definitely the bridge between Chung’s salacious and violent action pictures and his more refined martial arts films. He would soon hit his trademark stride.

JUDGMENT OF AN ASSASSIN (1977) would mark something of a turning point for Sun Chung the director. It would be the beginning of his signature filmmaking style. Here, he would set himself apart from other Hong Kong directors by finally being allowed to direct his way and utilize his unique style. It would seem that since the Shaw stars never had a say as to what films they wanted to do or appear in, the same could be said of their directors or at least until they proved themselves at the box office. Judging by Sun Chung's later filmography, it could be said that he was most comfortable directing action films (AVENGING EAGLE, THE PROUD YOUTH) as well as horror films laced with action (HUMAN LANTERNS). It would be interesting to know whether or not Chung enjoyed directing the films of his earlier career or even his thoughts on his career at Shaw Brothers in general.

Beginning with JUDGMENT OF AN ASSASSIN (1977), Sun Chung would assume a stance similar to that of prolific director Chu Yuan who was then enjoying a success with his filmic adaptations of famous authors Jin Yong’s and Gu Long's Romantic Swordsman novels. The difference being that Chung's movies were more linear and far less convoluted considering Chu Yuan's films tried to condense a massive novel into a 90-100 minute running time. It was also apparent that Chang Cheh had left his mark on Sun Chung's career although his style was uniquely his own. Chung's films from here on out would feature complex storylines bolstered by gorgeous set design and sweeping camera work. Sun Chung was also the first Hong Kong director to utilize the steadicam and Shaw Brothers was the only studio in HK to have them at the time. Sun Chung often liked to dwarf his characters in the enormous landscape or whatever massive set was built for the sequence allowing viewers access into the world surrounding the heroes and villains.

JUDGMENT OF AN ASSASSIN (1977) is about the leader of the 100 Poison Clan's ambitions to annihilate all other Clans that are viewed as possible threats. The leader is to be tried in front of a tribunal but first he must be found as he is presumed dead. David Chiang plays one of two Clan members sent out on a mission to bring back the vicious leader. Played by real life Triad boss Chen Hui Min, his performance as the main villain is a striking one with his mostly bald head save for long locks of white hair on the sides as well as white eyebrows and mustache. The white hair may have been the result of Liu Chia Liang's big hit EXECUTIONERS FROM SHAOLIN (1976) which featured Lo Lieh as real life villain Pai Mei, the White Browed Priest. After that film's success, a whole slew of white haired villain movies followed. Back to JUDGMENT...the film features some surprisingly good action scenes from David Chiang who always seems more at home in Chang Cheh’s swordplay movies but he looks good here (albeit with an odd wig) as he also did in SHAOLIN MANTIS (1978) and the non-Shaw film THE LOOT (1980). The sets on display here are striking in their sometimes haunting attributes and, like many other Shaw movies, add an air of quality not found in independently produced action films.

The next film spearheaded by Chung would become his most famous film to date. One that has an extremely strong following among fans. The award winning AVENGING EAGLE (1978). Chi Min Sing (Ti Lung) plays one of the dreaded 13 Eagles from the Iron Boat Gang. He's on the run and meets up with a mysterious stranger (Fu Sheng) who helps him. You soon learn that the 12 other gang members are after Chi and are to bring him back to their irredeemably nasty leader Yu Si Hung (Ku Feng). It isn't known who the stranger is until later in the film, but you are let in on his identity about midway through. The suspense builds on whether or not the two will continue their alliance until they reach the gangs lair. Filled with violence and Chang-style chivalry (among the good characters in the film), Chung makes the most of the script from genre workhorse I Kuang adapted from the Jin Yong novel. The villains are suitably vicious with all of them having their signature color scheme and own style of weaponry. All of them also sport a gold Eagle medallion worn around the neck. Yu Si Hung as played by award winning actor Ku Feng is deliciously evil and one of the most memorable of all kung fu movie bad guys. His absolute and unmerciful means of doling out punishment and vengeance guarantee you will want to see him die spectacularly by films end. The main focus though is on Ti Lung and Fu Sheng's characters.

Chi is the most adept killer in the gang and on one of their missions of robbery, he is injured and ends up separated from the other gang members. He is found unconscious and nursed back to health by a kindly old man and his family. Chi is overwhelmed by the feelings of warmth and general caring this family has shown to a stranger. These feelings are like nothing he has ever experienced before and is totally overcome by them. He even falls for the old man's daughter whom he halfway explains his past to. Just when you think he has completely changed, he goes back to the Iron Boat gang after a long spell. Upon his return he learns that Yu Si Hung has located the last police official who put him in prison for three years and orders his 13 Eagle's to go kill the man and anyone else residing with him. Considering this is a Shaw Brother's movie, it doesn't take a genius to figure out what happens next. The stranger also has a story to tell that's just as grief stricken and riddled with a bloody trail of retribution that involves Chi in ways he is not aware of until the conclusion.

The fight scenes are also well choreographed by Tang Chia and Huang Pei Chi. Tang, who along with Liu Chia Liang, handled action scenes for many of Chang Cheh's movies, had his own style that was different from Liu. Tang was more into the acrobatic grace of the movements as opposed to strictly grounded techniques from Liu. The finale inside the Iron Boat hideout is a magnificent set piece and Sun Chung wrings every bit of suspense from the final moments he possibly can. This was one of a few movies where I was actually talking to the television set during the movie. Chung also experiments with some editing techniques which garnered this film an award for Best Editing at the 16th Annual Golden Horse Awards. The (stock) music used is also captivating and it fits the film perfectly.

The opening sets the tone for the film ahead. Chi dehydrated amidst a vast landscape of desolate mountains, his horse's hooves bloody from the journey, collapses from exhaustion just before he is found by the stranger. The new remastered edition from Celestial/IVL reveals many details in the film that were previously lost in its numerous bootleg releases. There is one sore spot in Celestial’s print. During the final fight, there is around 60 seconds of footage missing. Whether it was due to print damage or it was simply edited out of the Chinese theatrical print is not known but if you've never seen the film before you'd never know. The highest recommendation for this crowning achievement in Sun Chung's long career.

Another stupendous movie from Chung came in 1979 with the release of THE DEADLY BREAKING SWORD. Again starring Ti Lung and Fu Sheng as well as Ku Feng as another nefarious villain. Also added to the mix is Chen Hui Min playing a standout lead bad guy role. The film's plot is very complex and intricate involving numerous threads. The basic plot is about revenge against a seemingly upright doctor (the film's real villain, The Killer Doctor played by Ku Feng) who had betrayed the brother of a woman masquerading as a prostitute. She must clear her brother's name who is in prison for a crime he did not commit. She entrusts the aid of a righteous but arrogant swordsman, The Deadly Breaking Sword, Tuan Chan Qing (Ti Lung). When he refuses to help her because of the doctor's "good" reputation, she seeks help from a young rascal (Fu Sheng) with a huge gambling debt tricked and forced into working for the gambling house to pay it off. Once he sees the truth, Tuan decides to help but soon encounters an opponent from his past. An opponent that was thought to be dead who is now stronger than ever before thanks to the Killer Doctor.

Chung weaves the many plot elements perfectly culminating in one of his best movies that stands alongside AVENGING EAGLE in classic status even if it is less known in the West. The opening sets up both hero and villain as Tuan and The Throat Piercing Halberd, Lian San (Chen Hui Min) meet for the first time. Both fighters are arrogant and both are experts. Tuan is especially haughty in that he always drags a coffin along to the duel to have his adversary buried in. Tuan is called the Deadly Breaking Sword because a piece of his blade breaks off in his victims bone resulting in a painful poison death. Lian is found and nursed back to health by the Killer Doctor by use of his special acupuncture needles. Lian is told that should he recover, his body will undergo a change. The two then plot revenge and the downfall of Tuan's big-headed swordsman not knowing that the identity of the new in town and lavished after prostitute (Shi Szu) has vengeful ideas of her own.

An interesting scheme in the film is its two main characters. Tuan, the egotist swordsman and Xiao Dao (Fu Sheng), whose character's name means Little Blade (His main weapon of choice is a small sword). Tuan tries to teach Xiao how to conduct himself and through their relationship, both learn much from each other however subconscious it might be. By the film's end, both characters have changed for the better. Also of note is Tuan's bringing coffins to the duels with his rivals. This is possibly a nod to DJANGO (1966) although there is no Gatling gun hidden within. Another stand out for this film is its original and overly strong soundtrack. Whereas most HK movies used cues from other movies or stock library tracks, here, an original score is created that adds to the film immensely. The title song is even sang by Fu Sheng's wife, an accomplished singer at the time and also frequent co-star in her husbands movies.

One of Chung's innovations was that during his fight scenes, there would be numerous close up shots of the two principle combatants that would be shot in slow motion. These close ups allowed for every detail of the two characters and their weapons of death to be viewed in the frame. These slow motion bits involved close calls where the fighters would encounter near misses from their rivals weapons narrowly escaping a stab or slash. These are expertly handled and give a very detailed "up close and personal" view of the moves in action. This technique is utilized in all of Chung's later films from 1977 on. This technique is seen throughout DEADLY BREAKING SWORD (1979), a film that is a classic of the Swordsman genre and another high point in Sun Chung's career.

[oldeschool17]

cool. we might as well call you kungfupedia. Good stuff to read

[venoms5]

cool. we might as well call you kungfupedia. Good stuff to read

Ha! Not hardly. I have a MASSIVE piece I'm working on simultaneous with some others called SHAW BROTHERS & KUNG FU CINEMA. I will need some help on that one as it encompasses indy stuff, too. Been working off and on with that one since 2006 as well.

I need to re-watch a couple of Chung's films before I finish this piece on him. I've got these in the works--

HO MENG HUA

CHENG KANG

KUEI CHI HUNG

HUA SHAN

[teako170]

Good choice V5. Sun Chung was fairly unknown to me but this guy Linn kept telling me about him, so I finally checked a few of his flicks out and was very impressed. Though I am still a bit annoyed at him for that whole Fu Sheng/Lily Li well scene in D.B.S. (but I digress).

Anyway, here's a bit more info for you on his early career. Hope it helps....

Sun Chung was a native of Shandong but grew up in Taiwan where he graduated from the directing/scriptwriting department of the Nat'l Inst. of Arts. He did a year's stint in the military and afterwards started to work as a script continuity person in Taiwan’s CMP Co.; later becoming assistant director to Li Xing and Bai Jingrui. His directorial debut was a 1968 musical titled "Wild Girl" aka "Ye Yatou." This film and his second, "Tops in Every Trade" aka "Hang Hang Chu Zhuangyuan," a comedy from 1970 were both critical and box office hits. After that, he was recruited by the Shaws in which he first made "The Devil's Mirror."

Look forward to your future articles... T

[Bravery]

Thumbs up for the post.

[venoms5]

Good choice V5. Sun Chung was fairly unknown to me but this guy Linn kept telling me about him, so I finally checked a few of his flicks out and was very impressed. Though I am still a bit annoyed at him for that whole Fu Sheng/Lily Li well scene in D.B.S. (but I digress).

Anyway, here's a bit more info for you on his early career. Hope it helps....

Sun Chung was a native of Shandong but grew up in Taiwan where he graduated from the directing/scriptwriting department of the Nat'l Inst. of Arts. He did a year's stint in the military and afterwards started to work as a script continuity person in Taiwan’s CMP Co.; later becoming assistant director to Li Xing and Bai Jingrui. His directorial debut was a 1968 musical titled "Wild Girl" aka "Ye Yatou." This film and his second, "Tops in Every Trade" aka "Hang Hang Chu Zhuangyuan," a comedy from 1970 were both critical and box office hits. After that, he was recruited by the Shaws in which he first made "The Devil's Mirror."

Look forward to your future articles... T

Appreciate that immensely T. I was thinking of incorporating what was on the IVL disc but it's so little and kind of vague in some respects but I wanted to learn some things not readily available and some of that is in your post above. Thanks again!

[teako170]

Appreciate that immensely T. I was thinking of incorporating what was on the IVL disc but it's so little and kind of vague in some respects but I wanted to learn some things not readily available and some of that is in your post above. Thanks again!

No prob. Glad it's of use.

Dug up the following pic this morning.

Sure some fans of AE will enjoy...

[venoms5]

Excellent pic, T! Is this from southern screen? I have a few HK mags but wish I had some Southern Screen issues.

[teako170]

Excellent pic, T! Is this from southern screen? I have a few HK mags but wish I had some Southern Screen issues.

Yes, indeed. July 1978. Here's a bigger spread from that issue (below).

(...props to my friend Carol as always.)

"Cold-Blooded Eagle" was the actual working title for this film.

The second pic is a full cast shot.

I only wish Sun Chung had posed with this one (as he did in the TKAM cast shot).

[oldeschool17]

awesome cast shot. Thanks teako

[venoms5]

Yes, thanks again for the pics.

[gravedigger666]

Is avenging eagle IVL cut?In the end eagles who have shield&fire wheel are jumping oddly while fu sheng&ti lung are standing behind them.Also there is maybe 10 lackeys remaining and camera cuts to ku feng against fu sheng and then back to ti lung they are all dead

[peringaten]

Is avenging eagle IVL cut?In the end eagles who have shield&fire wheel are jumping oddly while fu sheng&ti lung are standing behind them.Also there is maybe 10 lackeys remaining and camera cuts to ku feng against fu sheng and then back to ti lung they are all dead

Yes, by about a minute.

Cast shot is too good. Wonder why no Fu Sheng, though?

[venoms5]

Is avenging eagle IVL cut?In the end eagles who have shield&fire wheel are jumping oddly while fu sheng&ti lung are standing behind them.Also there is maybe 10 lackeys remaining and camera cuts to ku feng against fu sheng and then back to ti lung they are all dead

The answer is also above in the article towards the bottom.

[peringaten]

The answer is also above in the article towards the bottom.

Would much like to see your thoughts on the later SC flicks after your article cut-off point. Also, Criminals 4, some gooood stuff.

[venoms5]

I need to rewatch some of his films peri as it's been a long time for some of them as well as see the CRIMINALS entry from him. It's on the way!

[Iron Boat]

That is a great informative piece of research. I could never get into Deadly Breaking Sword though. Great premise but the tone of the movie just didn't capture my interest.

[VenomsFan]

awesome. with some rare footage, pictures, i think you have enough for a documentary.

4 words

to kill a mastermind

[daisho2004]

I definitely think Avenging Eagle is his Best and one of my Favorite SB Movies. I just wish they didn't cut out that scene at the end of the movie!

[Fang Shih-yu]

Arguably, this may be your best of your Neglected Directors of Shaw series!... I got The Bloody Escape a while back, and it blew me away! Really, once you get past those "Cheh zoom shots"(one went REALLY wrong, and it's surprising that it was used at all), there are many stylish flourishes here! Chen Kuan Tai gave one of his best, low-key performances here, and if you look closely, there are bits in the story that anticipate Avenging Eagle! For those who have NOT seen it, let's say the ending is a true surprise, especially if you've seen enough Shaws to make you think a certain pay-off IS bound to happen!

[Alexandra]

Excellent article Venoms5.

Sun Chung is a great one.

I hope a second part of your article, about the movie production of Sun Chung from 1979 onwards, the dozen movies he made, with your interesting commentars. Thanks.

Alexandra

[venoms5]

Excellent article Venoms5.

Sun Chung is a great one.

I hope a second part of your article, about the movie production of Sun Chung from 1979 onwards, the dozen movies he made, with your interesting commentars. Thanks.

Alexandra

I plan to redo all of these and post them at my site in the hopes of generating more interest in these directors and films. A handful of people have already taken chances on some of these movies that wouldn't have otherwise and the more people exposed to these movies, and liking them, can only be a good thing. Hopefully, these and others are actually buying the legit versions of the films. Expansion of the genre can only spark interest; how much interest depends on the individual.