Neglected Directors of Shaw: Ho Meng Hua & His Films

[venoms5]

NEGLECTED DIRECTORS OF SHAW: HO MENG HUA

HO MENG HUA: GUILLOTINES, OILY MEN & GIANT APES

Famed Hong Kong director Ho Meng Hua first entered the film industry in 1955 as a writer (and presumably as a cinematographer) and in 1957 as a director. His first known instance of fame came in the form of a quartet of films based on the famous Chinese mythical legend of the Monkey King; a student of a real life monk who undertook a pilgrimage to India to procure scriptures. The name of this voluminous epic is JOURNEY TO THE WEST. The Shaw Brothers films that form the basis of this legend are MONKEY GOES WEST (1966), PRINCESS IRON FAN (1966), CAVE OF THE SILKEN WEB (1967) and LAND OF MANY PERFUMES (1968). These films were the first instances of fantasy outings with (then) accomplished effects work.

Around the time Ho was wrapping up his fantasy outings, former scriptwriter Chang Cheh had hit gold with his ONE ARMED SWORDSMAN (1967) a film that rejuvenated the Wu Xia genre in a whole new way. Now, the swordsmen that dominated the martial world painted the landscape in blood red brush strokes. Ho Meng Hua followed suit delivering some classy entries in the genre seldom going completely overboard (although he did on a few occasions) in the violence department, opting instead to build the dramatic aspects of his films. One of the best examples of Ho’s ability to weave a compelling story without resorting to gory violence to sustain interest is in the classy and ambitious swordplay film, VENGEANCE IS A GOLDEN BLADE (1969).

Possibly his finest film, the script weaves so much emotional gusto into its 90 minutes that had the swordplay sequences matched the poignancy of the performances this would be cinematic perfection. The fights are fine only they don’t match the intensity of other Wu Xia Pian’s being released around this time. Tang Ching dominates the film as the tragic hero Li Zhi Shan who, contrary to Chang Cheh’s heroes, finds redemption by films end. In Ho’s film, his hero is put through all manner of indignities most notably by his wife played by soon-to-be director Kao Pao Shu. Fleeing the evils of the city after his humiliation, Li takes to the mountains to raise his daughter in the hopes of raising her to be an honest and just woman, the opposite of her adulterous mother. Ho shoots this film in an unusual style contradictory to the norm at Shaw Brothers, the bulk of this film is shot on natural locations. The action scenes are also inventive. One takes place in a raging wildfire and another takes place shoulder deep inside a lake. What is lacking in the choreography, the locations more than make up for. Tang Ching appeared quite the dashing leading man during the golden age of HK cinema. He, along with famed actress Cheng Pei-pei, would be favorites of director Ho in a few of his swordplay films. Both would star in Ho’s THE JADE RAKSHA (1968) and Tang Ching would return to headline Ho Meng’s THE BLACK ENFORCER (1972). Another sharp entry in Ho’s filmography and also a missing piece in the Shaw Brothers puzzle. This film was not released by Celestial/IVL or was planned but didn’t make the schedule for the five year contract between the two companies.

THE BLACK ENFORCER (1972) is a snow bound Shaw Brothers production probably shot parallel with Lo Wei’s THE SHADOW WHIP (1971) to take advantage of the snowy locations. In it, Tang Ching is the ‘Black Enforcer’ of the title. He is transporting a murderous criminal and stops off at his family’s home to rest for the night. The murderers gang is watching nearby however and they free their nefarious leader. Noteworthy bad guy Tien Feng plays Kuan, the sadistic villain here and burns the home to the ground but not before raping Kung’s (Tang Ching) daughter in front of him and leaving him for dead. Kuan then makes off with Kung’s woman later on forcing her to marry one of his son’s. Blinded from an earlier altercation, Kuan learns to fight with his blindness as well as cover up his past and make his children believe he is a righteous man. During all this Kung rots in solitary prison for 15 years for allowing such a criminal to escape. Once he gets out the inevitable revenge is set in motion. A shame this film didn’t receive a legit DVD release as it’s a quality affair on par with the best of Ho’s swordplay films. KILLER DARTS (1968) is a colorful Wu Xia picture starring the great Yueh Hua and Chin Ping (not the exploitation starlet Chen Ping). One of the many interesting attributes of Shaw Brothers Wu Xia films are there convoluted story arcs and this film has them. Only the ending falters appearing as if the production suddenly ran out of money and had to finish up quickly.

THE JADE RAKSHA (1968) unites Tang Ching with another Ho favorite, Cheng Pei-pei in a tale of one woman’s revenge for the death of her entire family. Not knowing exactly which of the 20 or so Yen family members committed the act, she decides to cut a swath through the whole of the Yen Clan instead. Heroic swordsman Lin (Tang Ching) vows to stop the Jade Raksha of the films title. Tang Ching is another tragic hero who, by films end, finds redemption but this is Pei-pei’s vehicle and she rules the show. Revenge is a strong focal point throughout this film. The hero, (also seeking revenge for a wrong) after having mistakenly killed an innocent man, forsakes his vendetta vowing never to draw a sword again. The heroine though, coldly cuts down the Yen brothers without knowing whether they had anything to do with her family’s murder or not. In this way, she ensures she gets the right one. Amidst all the fight scenes the nature of revenge is pondered rendering Tang Ching’s character the more wise and sensible of the two main protagonists.

Director Ho was one of the most versatile filmmakers at Shaw Brothers and had his hands in many cinematic pies and proved he was equally adept at directing horror films as he was swordplay. One of the most curious facets of Ho’s directorial skills was that he could churn out either a classic or gratuitously exploitative film of whatever genre he happened to be dabbling in. Classy Wu Xia’s like LADY OF STEEL (1970) and LADY HERMIT (1971) co-exist with violence laden sword films like the lean and bloody action flick AMBUSH (1973), DRAGON MISSILE (1976) and the great Shaw B-flick THE VENGEFUL BEAUTY (1978). Virtually all his horror-revenge films fall into the exploitation category. KISS OF DEATH (1973) is one of the most interesting. Not only featuring Chen Ping in her debut but Lo Lieh as a crippled man who helps her attain vengeance on a group of hooligans who took turns raping her transmitting a Venereal Disease to her in the process. Called Vietnam Rose, the victim eventually dies from it in a painful way but not before she exacts her revenge on her assailants. The film was one of the most popular of Ho’s career but the film is never quite as lurid as the plot would suggest. A remake came out in 1988 under the title HER VENGEANCE from director Lan Nai Tsai who like so many, got his start at Shaw studios.

THE LADY HERMIT (1971) would be one of Ho’s most ambitious swordplay films and also the Shaw swan song for Cheng Pei-pei. The film also stars the young and beautiful Shi Szu in what must be the passing of the torch of one fiery screen siren to the next. In it, Pei-pei plays the title character who has been hiding out ever since suffering a back injury in a fight with the Black Demon. Shi Szu is Cui Ping, an over-anxious swordswoman eager to learn from the Lady Hermit if only she knew where she was and what she looked like. Lo Lieh also figures into this film reunited with Pei-pei from Chang Cheh’s FLYING DAGGER (1968). Only here, Lo Lieh cannot fight unlike his role as the swaggering braggart knife thrower swordsman from that film. This being a Wu Xia movie, complications arise between the three main principles that leaves the young upstart, Cui Ping both angered and broken hearted. She heads off to take on the Black Demon and his gang alone culminating in a gory finale that includes an impressive battle atop a suspension bridge that doesn’t stay suspended for long. Easily one of Ho Meng Hua’s best films with the biggest surprise coming from Lo Lieh. Upon seeing him you would expect he would be a swordsman but it’s shocking to learn he can’t fight at all in the movie as opposed to his earlier swordsman movies. Ho enjoyed working with Pei-pei very much and according to him her personality equaled the fighting spirit of the swordswomen she played on screen. On many instances she insisted on performing her own stunts; a luxury she didn’t revel in working under Chang Cheh’s guidance.

THE LADY HERMIT (1971) was not only Cheng Pei-pei’s final film for Shaw Brothers, but also it seemed this would mark the end of the “classy” or “respectable” swordplay pictures from Ho. His remaining Wu Xia pictures would lean more towards exploitation elements with added nudity and more outrageous violence and although highly enjoyable, these other sword films just miss classic status by a narrow margin but nonetheless feature much to recommend them.

Also in 1971, Ho directed another interesting swordplay feature, THE LONG CHASE. Yueh Hua is the King of the Flying Daggers, Kou Ying. He has assassinated the cruel prime minister Yan at the films opening. Fan Yi (Lo Lieh) is assigned to find him within five days lest he be executed himself. Kou is pursued to Xuan Hua county where he assumes the identity of an officer who was killed in an ambush. Kou is able to allay capture by “proving” he is in fact Song Hua Long. Still suspicious of his true identity, Fan keeps a close eye on Kou/Song. Once inside Xuan Hua town, the two learn that the place is being terrorized by the Er Long Bandits whose base is up in the mountains. Once the bandits ransack the town, Fan forms an alliance with Kou/Song momentarily convinced he isn’t the dagger throwing assassin. Shu Niang (Li Ching) is kidnapped by the bandits and this leads to an awesome sequence in which Kou assaults the fort alone. Fan joins him later after alerting the court and attacks with a regiment of soldiers. The villains, now reduced in numbers, threaten to blow up a huge tower that Shu Niang is tied to. It is here that Kou reveals who he really is when he must use his daggers in an imaginative fashion to rescue the beautiful Shu. The same fashion in which he escaped capture at the beginning after killing the prime minister. Now Fan can make his arrest but before they leave town, the escaped bandit leader shows up with the Eight Freaks of Jiang Nan who prove inferior to Fan and the shackled Kou Ying. Fan loses his sword and Kou retrieves it. At first it appears Kou will kill him with it but he instead returns it back to him. Fan, having been helped so much by this man he was sworn to arrest, releases Kou to be with Shu Niang. Fan quits his job as an imperial guard and becomes a wanderer himself.

What’s interesting about this film is that so much confusion and circumstance is caused by Kou masquerading as officer Song; on both protagonist and antagonist camps. The villains having believed that he has been murdered, bring about their own downfall by attacking the town when they learn that he is apparently still alive. The same for Fan. He tries many tricks to prove that Kou is indeed the King of Flying Daggers. In fact, the circumstance that changes Fan’s mind that he is not the assassin is when one of the bandits shows up disguised as Kou which surprises Fan and totally confuses the real Kou Ying. Kou even vocally throws clues Fan’s way that he is in fact the assassin he seeks but Fan pays no attention by this point. Only when he is forced to use his daggers to save Shu Niang does Fan realize he is in fact the assassin he must capture. The sword fights are very exciting and wonderfully choreographed by Bruce Liang’s father, Liang Hsiao Sung. The action sequences are definitely a highlight amongst the handful of twists the plotline offers.

From here on out, the majesty of Ho Meng Hua’s sword films would segue into a more simplistic style. Relying more on bloody action and exploitation elements to propel the story. Not that it’s a bad thing mind you but there’s a clear and obvious difference in Ho’s movies from his late 60s and early 70s output from 1973 on. Ho would also try his hand at adult films delivering YOUNG PASSION and THE SINFUL ADULTERESS both in 1974 the latter starring Chen Ping.

AMBUSH (1973) is more of a straight ahead action film and nowhere near as convoluted as most Wu Xia movies tend to be. A fairly simple story of an honorable constable whose father, the head of a reputable escort service, vanishes after the consignment of priceless jewels he was carrying is stolen and the other escort members are killed. The son is of course framed as an accomplice and he must set about clearing his, as well as his father’s name. An interesting and fast paced lean action flick from Ho throwing in some gratuitous nudity and even a horror tinted sequence involving Li Ching locked up inside a mausoleum with corpses. Chao Hsiung, previously a supporting actor (most always as a villain of some sort) is given the lead here and he handles himself well. Considering that by this time male actors were often top billed, Chao Hsiung had yet to prove himself able to carry a film by himself so Li Ching, who does little in the movie, is top billed. Chao always reminded me of a chambara actor his role as the Japanese villain in KING BOXER (1972) notwithstanding. He was given two chances as a lead both here and in Ho’s THE GOLDEN LION (1975) where he played a Hercules-like character. Neither film caught the interest of HK audiences with both films grossing just under $200,000 HK dollars. Chao was relegated to supporting status once again. This film would appear to have been shot in 1973 adjacent with AMBUSH (1973) as it seems at odds amongst the other more kung fu oriented films dominating screens in 1975. What makes AMBUSH (1973) special are its brisk pace, exciting fights and an array of characters out to get the hero and the jewels. Police, crooked individuals, conniving women and a mysterious swordsman are all out for the stolen riches. The most striking aspect of the film is the conclusion; a battle in and around a working windmill is one of the most brutal final fights in any Shaw Brothers movie. This sequence assuredly goes the exploitation route when Constable Wan (Chao Hsiung) has the villains leg wedged between two of the windmill cogs. Instead of finishing him off with his sword, he instead turns the cogs which have locked up due to the antagonists legs trapped within thereby severing his leg from his body(!) and mind you the fight doesn’t stop there.

In keeping with the trend of his bloody and violent Wu Xia movies Ho’s next went on to become one of the most famous Shaw Brothers films of all time as well as being one of the most noteworthy to play the grind house circuit on 42nd street in New York City. The film was the influential THE FLYING GUILLOTINE (1975). Purportedly based on a real weapon used during the Qing Dynasty to quell rebel uprisings and reprisals as well as assassinations, no one apparently lived long enough to document what the weapon looked like. According to Ho this film took a year to shoot.

Chen Kuan Tai plays Ma Teng a young man who joins the army and eventually is ushered into a secret sect of assassins specially trained to kill rebels of the Empire or those who speak out against the Emperor’s rule. Within the ranks there is one man, Ah Kun who is jealous of Ma and plots to have a number of his brothers murdered. Those that pose a possible threat to or are viewed as superior to him are prime targets. Ma inadvertently spells doom for himself when he voices his extreme displeasure with the way the secret organization of sworn killers are now targeting their own. He goes on the run when he learns he is next in line for assassination. He meets up with a street performer and the two soon marry and have a child. The remaining Guillotine Gang, now under the guidance of Ah Kun, isn’t far behind. In what must be a record, FLYING GUILLOTINE (1975) contains over 2 dozen decapitation scenes. The emphasis is more on the terrifying weapon and the damage it causes as opposed to fights. The few fights present in the film are very brief and only average at best. The film is almost a horror picture at times in relevance to the guillotine weapon and that it is virtually unstoppable and can get you anywhere you go. While on the run, Ma gets the idea to create a counter weapon to the guillotine; a Steel Umbrella. The first time the Flying Guillotine meets with Ma’s creation, it works fine until the second time. The weapon is easily destroyed by the guillotine. Ma flees once more and learns that only a Flying Guillotine can stop a Flying Guillotine.

The film was right popular and numerous other films utilizing the flying head chopper (or some variation of it) came out in its wake. Jimmy Wang Yu who had left Shaw Brothers not on the best terms cranked out MASTER OF THE FLYING GUILLOTINE (1976) and a modified version of the weapon in the Wang Yu starring THE DEADLY SILVER SPEAR (1977). FATAL FLYING GUILLOTINES (1977) had Chen Sing wielding two Guillotines at once. The weapon seen here resembled the Shaw version more than the others. Shaw’s themselves retaliated with FLYING GUILLOTINE 2 in 1978. With the flurry of other movies riding the coattails of the original, that may have been the reason for the sequel which is quite different. Whereas the first film focused more on the characters and predominantly the head cleaving device itself, the sequel put more emphasis on the action. Ti Lung takes over for Chen Kuan Tai this time out and his Steel Umbrella works far better than it did for him in the first film. Certain other characters are tampered with giving the impression that is a stand alone film separate from the first FLYING GUILLOTINE (1975).

Ho Meng Hu would direct his own rip off of the famed martial-horror epic--THE DRAGON MISSILE (1976). Here, Lo Lieh is the right hand man to a prince of the Manchu court. The prince falls ill and only a special ginseng root will cure the sickness. He is only given a limited amount of time to find this medicine. Lo is the master of the Dragon Chopper, a Boomerang weapon modeled on the Flying Guillotine which delivers the same results. Lo’s character is a bad guy and on his journey to procure this root, the protagonists try to impede his progress. Through the course of the film, Lo’s character not only has the good guys chasing him, but the bad guys as well. The film builds itself to a fairly unsatisfying ending. The visual shots of the Chopper in action are very nice for a ‘76 production and there’s some usual striking scenes of violence here and there. The action scenes are pedestrian but serviceable but if you’re a fan of the FG films, this is a nice curiosity piece to add to the collection.

Ho Meng Hua also directed another film, THE VENGEFUL BEAUTY (1978), which featured an extended cameo by the Guillotine weapon. There’s also some footage from the original film inserted here either as stock footage or possibly this film takes place during the original movie. Chen Ping, the Queen of HK exploitation, plays Rong Chu Yan, or the Bloody Hibiscus of the films translated title. Mostly a revenge tale, the guillotine squad are seen during the first 30 minutes and disappear after that. Rong Chu Yan swears to avenge the death of her husband at the hands of the guillotine killers and she encounters numerous thugs and defeats them all whilst pregnant(!) Several other characters are thrown into the mix in an effort to elevate this sleazy sword movie into the upper echelon of Wu Xia pictures but THE VENGEFUL BEAUTY (1978) never rises above average being content to showcase lots of exploitation elements (nudity and gore among them) to fill its brief running time. One of the best lower tier B pictures from Shaw Brothers those seeking some cheap thrills will find them here. In between these two preceding exploitation sword films, director Ho would tackle a genre he was very fond of and deliver one of his most famous creations.

Being a horror fan and especially of zombie cinema Ho Meng Hua embarked on directing a string of horror movies with some of his most notorious being taken directly from superstitious folktales of black magic that many people in Singapore and Malaysia as well as those who live outside the modern cities firmly believe in.

BLACK MAGIC (1975) would be the first of Ho’s horror films and a bit of research went into the making of the film. Based on legends of sorcery in Singapore and Malaysia, the film was responsible for a slew of similar movies featuring all manner of ghoulish witches and warlocks who used elaborate and increasingly bizarre spells to exact violent and brutal revenge on their victims. BLACK MAGIC (1975) was essentially an extremely dark love triangle at heart starring Ti Lung (who probably wouldn’t have done this film otherwise) as a construction worker lusted after by a wealthy playgirl who likewise is hungered for by another character played by Lo Lieh. An evil wizard (Ku Feng) is employed for various love spells as well as death spells. Ultimately, a good magician is called forth to put an end to the lascivious black magician who has caused all manner of death and discomfort for the films characters. A wild battle of the wizards takes place atop a construction site during the finale. Gaining approval especially in areas ripe with the legends of the black magic rites, the film was popular enough in Hong Kong to warrant a sequel the following year. BLACK MAGIC 2 (1976) was virtually a remake of the first film but this time the level of exploitation elements is cranked up considerably. Although I prefer the first, the sequel has its moments such as the opening crocodile attack, the army of female zombies with the 10 inch spikes rammed into their skulls and the usual worms under the skin, drinking of female pubic hair to sustain youth and other nasty delights. Ho Meng Hua also manages a brief martial arts skirmish atop a rail car. Bad rear projection kills this scene but adds to its cheese level considerably. Ti Lung again returns but this time Lo Lieh takes over the role of the wicked wizard.

For the next decade and beyond a steady slate of HK horrors featuring malicious and malevolent warlocks casting an increasingly nauseating and repulsive array of spells on ignorant or unsuspecting victims would lure curious patrons into theaters. Some movies that owe a debt to BLACK MAGIC (1975) are THE PRINCESS & THE TOXICANT (1977; aka SUCCUBARE), BEWITCHED (1981), THE DEVIL (1981), CENTIPEDE HORROR (1982), BLACK MAGIC WITH BUDDHA (1983; directed by Lo Lieh), THE BOXER’S OMEN (1983), BRUTAL SORCERY (1983) and RED SPELL SPELLS RED (1983) to name a handful. Sadly, two of Ho Meng’s horror films remain elusive--NIGHT OF THE DEVIL’S BRIDE (1975) and THE PSYCHOPATH (1978) with very little known about either film.

In 1976 Ho would deliver one of his most notorious exploitation features--THE OILY MANIAC. Again taking its cue from Malay folk legends and superstitions as well as sourcing itself from a 1958 film featuring the oily monster, Ho fashions one of the most enjoyable and hilariously bad films of all time. Danny Lee Hsiu Hsien stars as Sheng Yung, a cripple whose uncle is framed for murder while the real criminals go free with the aid of a crooked lawyer. Moments before his uncle’s execution, he gives Sheng instructions for a deadly spell that will enable him to exact violent retribution on those who would do evil. However, if he takes the life of an innocent, he is doomed to a terrible death himself. The spell is an odd one--simply dig a hole in the middle of your house, sit in it and mumble some words and presto…instant oily maniac, a massive monster made of oil and glowing eyes which has an array of superpowers. The thing can change into an oil slick and traverse through pipes or even chase cars on the highway! The Oily Maniac can also regenerate severed limbs. Ultimately, Sheng works at a law firm and sees a lot of seedy individuals around him and goes about killing them all in bloody fashion a favorite method of destruction being to crush a victims head underfoot. There is also a young girl Sheng is in love with and this gets in the way of his eradication of evil as the film progresses. There is a high exploitation quotient found in this movie which itself is a bit confounding. It tries to be both a superhero picture and a gruesome, nudity filled geek fest. Ho keeps the pace moving along nicely piling more and more absurdities and sordid characters as the films running time will allow. OILY MANIAC (1976) is so OTT that the bad, but creative effects work only enhance the picture. The monster resembles DC Comics Swamp Thing and the scenes of Danny Lee running away from thugs desperately searching for a vat of oil to hop into in order to change into the creature is hilarious. All this and Chen Ping, too; OILY MANIAC (1976) is recommended for bad movie buffs and those seeking out some outlandishly sleazy thrills to which Ho Meng Hua delivers in abundance.

Danny Lee, who never really broke out as a big star until appearing in THE KILLER (1989), seemed to be the Shaw Brothers test subject when it came to weird and unusual material. Having played an ULTRAMAN style hero in Shaw’s wonderfully kitschy and endlessly fun SUPER INFRA MAN (1975) directed by another exploitation specialist, Hua Shan. Lee found himself as the aforementioned oil covered avenger before settling in on another Ho feature. An ambitious and elaborate production which eventually became a huge critical and cult success around the world.

MIGHTY PEKING MAN (1977) would be one of Ho’s most famous or infamous film depending on your point of view. Shot while Dino De Laurentiis’s remake of KING KONG (1976) was in production, the idea was to complete PEKING MAN and get it into theaters before the US film was released. Based on a legend built around fossils discovered in China in the early 1900’s, the movie about this Himalayan giant seems more attuned to the US KONG than the myth it’s based on. This was the first time a film of this type and magnitude had ever been attempted (although there was an obscure Taiwanese monster film entitled THE YOUNG FLYING HERO in 1970 and SUPER INFRA MAN in 1975) PEKING MAN was an extremely ambitious production the likes of which wouldn’t happen again. Shooting took well over a year to complete and difficulties with the Japanese crews proved frustrating for both sides. The Chinese crews work fast and the Japanese technicians were not used to such hasty methods. The credits reveal two names recognizable to Kaiju fans, Sadamasa Arikawa and Koichi Kawakita. Both men worked on Toho’s GODZILLA film series during the 60s and 90s respectively.

Contracted to shoot four films a year, this proved a daunting task to deliver such an ambitious production in addition to shooting three other movies in between. Shot on location in India and Hong Kong the film was as much of an adventure to make as what ended up on screen. In addition to dealing with difficulties from at least three different effects crews from Japan, problems arose acting with a tiger found in a circus near Bombay. Having wasted a lot of days on a tiger that wouldn’t stay on set or act for the camera, another tiger was soon found that would do what was required. One scene in particular required for the tiger to attack a man. The crew were warned beforehand that if anyone should be hurt the transportation vehicles couldn’t leave to take them to the hospital. Initially informed to shoot as quickly as possible, it became increasingly apparent that with the relaxed pace with which the Japanese crew was working, the film wasn’t seeing completion as soon as expected. The budget eventually exceeded HK $7 million. When the first crew’s contracts expired after three months another Japanese crew was brought in and according to Ho, a third and final crew was added to the list of technicians in an effort to get the film done. With so many different hands tackling the special effects noticeable differences in the ape suit are apparent from the early portion of the film compared to the remainder. The plan was to have THE MIGHTY PEKING MAN (1977) finished and in theaters before KING KONG (1976) arrived for viewing by HK patrons. It didn’t happen and the film performed poorly compared with what was spent on it. Blame was placed on the fact that the audience had already seen the US film and couldn’t be bothered to see the same thing over again.

Asians have an uncanny ability to instill much emotion and character into their monster movies and this film is no exception. Brother of Yuen Woo Ping and martial arts actor and choreographer Yuen Chueng Yan played Utam, the giant ape creature and manages to create more pathos and pity for the hairy giant than Guillermin could hope for in his bloated blockbuster.

Even though it took well over a year to complete, there is still a chaotic nature inherent in the film. Possibly down to the headaches encompassed by dealing with crews not used to the ways of HK technicians and the fact that director Ho had to juggle three additional movies into his schedule. Considering nothing on this scale had been done before or since, Ho does an admirable job with the material. Irregardless of the insanity, absurdities or bad effects found in the film, the entertainment value is extremely high. The human characters (save for Evelyn Kraft’s jungle girl) are all throwaway caricatures of the ones found in the US KONG from ‘76. But unlike that movie (whose only saving grace are the score and the gorgeous island photography) Ho expertly creates much pathos and concern for the outcome of the giant ape and his blonde jungle girlfriend.

Evelyn Kraft steals the show from even the giant ape of the title. Her European openness was a complete shock to the Hong Kong crew. Whether it be stripping down for her costume measurements or tossing away clothes for a swim in a lake, her comfortable and casual ease with which she could parade around with nary a piece of clothing clashed with the conservative nature of the Chinese. No one complained I’m sure but I can imagine this was totally unexpected but nonetheless a pleasurable shock to the male members of the production staff. Kraft also starred in the Shaw CHARLIE’S ANGELS clone THE DEADLY ANGELS (1977) which was released earlier in the year and was a massive success. One could also argue that CHARLIE’S ANGELS was a rip-off of Ted V. Mikel’s THE DOLL SQUAD (1973) which featured the same concept.

Although THE MIGHTY PEKING MAN (1977) was successful in all other Asian territories besides Hong Kong, there were no other “spectacles” such as this after its release. It did make a modest amount in HK but versus what was spent on it, it could only be viewed as a disappointment at the box office. It will be remembered as one of Ho Meng Hua’s best and most fun filled motion pictures.

One of the films Ho worked on while toiling on his creature feature was THE CRIMINALS (1976), an anthology of crime tales that proved popular enough for further sequels. Ho directed the third segment of the film entitled “The Stuntmen” starring Lo Lieh as a stuntman working for the Shaw Brothers who gets mixed up with some Triad gangsters. What’s interesting here is that you get to see the making of a (presumably fake) movie while Yueh Hua, playing himself, is goaded into jumping into cold water by being given alcohol.

Ho would soon begin work on another exploitation kung fu picture entitled SHAOLIN HAND LOCK (1978). Starring David Chiang and Lo Lieh as the main heavy, Chen Hui Min and Chen Ping fill out the main cast. The films title is a bit curious considering the veritable uselessness of the maneuver. It’s not very impressive nor very practical but this being a kung fu exploitation flick, that doesn’t really matter. Ho manages to toss in a motorcycle and boat chase to liven things up in a story that would seem better suited to a Wu Xia epic. The thai locations offer a nice change of scenery but it is becoming obvious by this point that Ho Meng Hua is either in need of a vacation or is becoming increasingly disenchanted with making movies which the latter is alluded to in an interview with the director. Ho’s final two kung fu pictures for Shaw Brothers are forgettable affairs with literally nothing to recommend them. Adding insult to injury, the HK audience had become noticeably bored with Ho’s films with his final three action flicks for Shaw’s barely breaking 1.5 million combined. The less said about the last two the better. ABBOTT OF SHAOLIN (1980) looks like it was made several years prior and stars David Chiang as the priest Chi San and Lo Lieh as Pai Mei in a painfully forgettable and routine movie that was the biggest disaster of Ho Meng’s career bringing in only $116, 880. His last Shaw Brothers production fared just slightly better. THE SWIFT SWORD (1980) was a pedestrian effort based on the Jin Yong novel shot the following year from Chang Cheh in THE SWORD STAINED WITH ROYAL BLOOD (1981), a film that was fairly faithful to the source material. Ho’s version offers little of interest but is less squirm inducing than ABBOTT OF SHAOLIN (1980).

Looking back on Ho Meng Hua’s career there are some parallels to Chang Cheh’s career. Ho’s early Shaw Brothers filmography is peppered with classic and classy films that by the mid to late 70s had deteriorated to more sensationalist entertainment. This mirrors Chang Cheh’s more prolific career. One could also say that in some ways director Ho was more of a follower than a leader but he did open a lot of eyes with his classic fantasy quartet adapted from JOURNEY TO THE WEST and he was responsible for ushering in the horror genre in a big way with BLACK MAGIC (1975) that permeates HK cinema to this day. Ho Meng Hua was a great talent during his heyday and the remainder of his varied resume deserves to see the light of fans DVD players.

[Bravery]

Venom, this is very informative, as is every other piece you've written; I hope you don't mind that i've printed them off. I read them during free time. Looking forward to more.

[venoms5]

Venom, this is very informative, as is every other piece you've written; I hope you don't mind that i've printed them off. I read them during free time. Looking forward to more.

No problem. Added some more parts with the added bits in italics. I worked on this some last night and then a bit tonight so I'm adding more to it as I get further along.

[venoms5]

Added some more stuff to the GUILLOTINE section. Will try to finish it up tonight.

[venoms5]

Added right much more to this. Needed to see LONG CHASE again as I remembered it being quite good. Will probably add a bit on MASTER OF KUNG FU. Haven't watched it yet save for the opening few minutes. It seems like an odd enough curio to include something about it.

[Sifu]

As I've said time and time again I loved his Journey to the West series; the musical numbers, the comedy, the erotic overtones, and the great action along with the fantasy elements that featured effects beyond their time. But you also have to remember that Monkey Goes West is the film that kicked Yueh Hua's film career off.

Great direction of course by Ho Men Hua, the storylines weren't anything like the other Shaws of the time. Very unique.

[peringaten]

But you also have to remember that Monkey Goes West is the film that kicked Yueh Hua's film career off.

Yes. But also Come Drink With Me. The two films were shot in tandem with each other, Yueh Hua stating that he would work on Monkey Goes West during the day, and then Come Drink With Me during the night.

While back, I got the chance to email interview Yueh Hua about a bunch of stuff. I don't consider it a particularly successful interview; my questions were screened by Celestial, who left out stuff not particularly 'to their interests', and translated the Q's to Chinese to garner his answers, which were then translated back to English by them for me - losing a mass of substance along the way. I should attempt to post it all with explanations at some point. Most of it's quite vague, you could almost guess the brief answers received. Great opportunity and stuff though.

Anyhoo, here's a bit, something about Ho Meng Hua's Monkey Goes West, etc., & King Hu's Come Drink - seems appropriate to post here, even if it digresses off thread topic a little; I kept his replies exactly as sent back to me following translation...

Yueh Hua: I was born and grew up in Shanghai, and majored in wind instruments, and minored in music and drama at the Shanghai Music School. I arrived in Hong Kong in 1962 with an acting troupe, and was successful with my application to Shaw Brothers’ drama school. I didn’t have any formal training in acting.

*Actually born in 1942 as Liang Le Hua, he adopted the moniker Yueh Hua after joining Shaws at 20 years of age.

Without prior film or theatrical experience, outside of Shaws various programs, he was thrown in at the deep end for his very first roles, prominently that of the Monkey King in the first two films (there were four in total) of Ho Meng Hua’s classic series of Journey To The West adaptations, Monkey Goes West and Princess Iron Fan (both from 1966); a fine mix of fantasy, folklore, special effects and even traditional song.

Peri: Can you tell us how you came to be involved with the Journey To The West films?

YH: The head of the Shaw Brothers’ drama school highly recommended me for the role, and asked me to audition for the producer, director Ho Meng Hua, and Sir Run Run. After I won the role, I was trained by Master Li who was hired from Beijing on how to transform myself to a monkey.

*the cues and concerns for his performances here were drawn from a traditional Opera basis to which he alludes training for the Monkey King role.

P: How do you feel in retrospect looking back at your interpretation of the Monkey King in regards of all the various versions of the character that were to follow? It seems you presented somewhat of a definitive film characterisation and precedent to follow on screen.

YH: Every time I look at my work, I always spot areas for improvement.

P: These were particularly effects driven films for the time.

YH: The special effects used during the period when films such as Monkey Goes West were made were filmed deploying a lot of bluescreen, miniature, and lighting effects.

P: Now alongside the Monkey adaptations you landed a role alongside actress Cheng Pei Pei in a true classic of the genre, King Hu’s pioneering swordplay work Come Drink With Me (’66) as the drunken beggar (the film was actually domestically titled after Yueh’s character). Can you tell us how you came to be involved with such a landmark production? And as a film which set a real precedent for the genre, did you realise the importance and calibre of this film whilst you were making it?

YH: I was asked to audition for the role by the producers and the management. I focused on doing my best whilst filming, and didn’t think of the movie as a vehicle to fame.

P: What was it like working with King Hu? It has been said he actually scripted the role you played for himself?

YH: Director Hu loved Peking opera. The drunken master role was based inspired by the opera Drunken Swordsman.

P: It is said that you actually got drunk before each take, so as to get into character for this role? If so, it worked very effectively! Can you tell us a little about your work on the film?

YH: I didn’t drink much back then, and wasn’t able to portray a drunk properly. So the director asked the props people to put wine in the decanter to help me get in character. As a young actor, you wanted all the roles you can get your hands on, so I was working on Journey To The West during the day and the production of Come Drink With Me during the night. When I was tired, I mixed up the characteristics of the two roles, and even started scratching my ears like a monkey during the filming of Come Drink With Me.

[Sifu]

While back, I got the chance to email interview Yueh Hua about a bunch of stuff.

Nice interview, very interesting to read, I really don't know all that much about Yueh Hua so this is very welcomed. But I must ask, who are you to get an interview with Hua?! That comes across wrong in words, I mean what do you do that gets in with such famous figures of the genre. I may've missed your past posts on this, enlighten me, I'm impressed with anyone who could get this set up

[venoms5]

Venoms5 all your posts have so much information not only that you are well spoken throughout it all. Why dont you start your own website

and post your reviews and all your other information there. (I am of course only assuming that you dont have one already).

thanks, Daigoro. A website was the initial plan but it doesn't look it's going to happen right now. I have something bigger (hopefully) planned at the moment and these articles will serve as the template.

Great read Peri! I could talk with these guys hours on ends about their entire filmographies. I don't think it's that hard to set something like this up as I had been in contact with Celestial about a project and they mentioned setting up an interview but I didn't think about doing one through emails.

Again, thanks for posting that Peri. I haven't watched MONKEY yet and I know very little about this quartet. If you don't mind I can incorporate some of your info into the piece and recognize you accordingly. Any info is greatly appreciated from any contributor.

[mpm74]

Venoms5, another great one! Thanks =)