Neglected Directors of Shaw: Cheng Kang

[venoms5]

NEGLECTED DIRECTORS OF SHAW: CHENG KANG & HIS FILMS

CHENG KANG: TEMPERAMENT OF LIFE

***additional info provided by teako170***

Cheng Kang was an amazing directorial talent who was Originally from the Shouxian County in the Anhui Province, Cheng Kang lost contact with his family in 1937 and eventually dropped out of school. Considering the Japanese had invaded China by this point, this may have been a factor. He continued his "education" while working as a library intern. While there he studied books on drama and cinema filling his head with information he would put to good use as a master filmmaker. During the second Sino-Japanese War he traveled the country as a member of Tao Zhixing's theater group which staged "anti-Japanese" plays, a sentiment that is still strongly felt by many (or the few) who survived the war. In 1942, he joined Ying Yunwei's troupe in Chongqing and at age 24 penned his first play (NIGHT RAIN IN AN EMPTY GARDEN aka Kong Ting Ye Yu) - which was very well received again foreshadowing the greatness to come.

After WW II, he studied Art & Design at the Shanghai College of Fine Arts. In 1949, he moved to Hong Kong where he worked as a screenwriter and in 1951, directed his first Cantonese film (Mother & Son in Grief aka Duangchang Muzi Xin). Cheng Kang toiled for years as a successful screenwriter on dozens of productions before Sir Run Run Shaw recognized his unusual aptitude and brought him in as a writer on such films as King Hu’s SONS OF THE GOOD EARTH (1965) and the JOURNEY TO THE WEST quartet of films helmed by Ho Meng Hua. Cheng Kang was reportedly a very difficult man to work with often taking a tremendous amount of time completing a script (or simply ripping it up and starting over from scratch) resulting in much discord with the director. It eventually got to the point where no director wanted him working on their film. Realizing his talent regardless of his lengthy time involved in completion, Sir Run Run Shaw gave him an opportunity to direct his own films--his own screenplays.

His first action film, GUN BROTHERS (1968), was co-directed with Wu Chia Shiang who also had a hand in the script. The film starred Ling Yun and Tien Feng (as another bad guy). Taking place during the Japanese occupation of China, Ling Yun is a Zorro/Indiana Jones type hero who masquerades as an aristocratic, womanizing ladies man by day, gun toting savior of the downtrodden by night. It’s a highly adventurous, and often times funny film that’s starts off with a bang. Chi, the Gun Brother of the title, attacks a Japanese ammunitions depot successfully blowing it up and gunning down dozens of soldiers with machine gun fire and grenades. Just prior to this was a rather violent sequence in which Japanese soldiers brutally murder a woman and her child. The remainder of the film never again reaches the cruel and bombastic action of these two opening scenes. However, the remainder of the picture is quite fun and exciting detailing Inspector Ma, a Chinese traitor working with the Japanese, and his efforts to eliminate the Gun Brother. There is some interesting use of split screen in this movie as a plot twist is introduced around the 40 minute mark. Chi has a twin brother whom he trains to become his womanizing self so as to allow the real Gun Brother to operate in autonomy as well as allay suspicion from the determined Inspector Ma. This portion of the film is rather humorous as Chi sees just how much his brother’s female servants and companions feel about him. Here, Cheng Kang has produced a fine script with some interesting character interplay and good action scenes and some well placed suspense sequences.

Ling Yun was already a co-starring leading man at Shaw’s in several drama features prior but showcased his flair for action here. He eventually found his calling in sword pictures such as TWIN BLADES OF DOOM (1968), THE MIGHTY ONE (1971; for future indy kung fu specialist Joseph Kuo) and SIX ASSASSINS (1971). He would later play the mysterious Li Tien Hung in Chu Yuan’s CLANS OF INTRIGUE (1977) and it’s sequel LEGEND OF THE BAT (1978).

Tien Feng was apparently a favorite of Cheng Kang during his early career. He appeared in numerous swordplay films for the aspiring director such as THE MAGNIFICENT SWORDSMAN (1968), KILLERS FIVE (1969), the incredibly violent THE SWORD OF SWORDS (1968) and the stunning enormity of THE 14 AMAZONS (1972), Cheng Kang’s most celebrated work. Tien Feng was a supreme screen villain and never was this more apparent than in his searing, merciless performance as the lead heavy in THE SWORD OF SWORDS (1968). Here was a film that proved Cheng Kang could hold his own with the likes of Chang Cheh. Whereas Chang Cheh went for a more visceral, documentary approach to graphic violence, Cheng Kang went for the jugular in a more cinematic fashion. Not content with displaying violence for violence sake, Cheng Kang’s Wu Xia’s bore more centralized storytelling usually dealing with one man’s quest to restore justice and protect his family. Occasionally Cheng Kang would spill over into Chang Cheh territory with larger than life heroes and heroines battling overwhelming odds but Cheng’s relatively small number of directed films made him a more focused director paying more concentrated attention to each film but also kept him overshadowed by Chang Cheh who churned out lots of hits (and occasional misses) with alarming rapidity.

THE SWORD OF SWORDS (1968) starred Jimmy Wang Yu and was shot in between his Swordplay epics for Chang Cheh. Possibly either in a move to imitate the runaway success of ONE ARMED SWORDSMAN (1967) or an effort to duplicate the popular ZATOICHI movies, (a long running series of Japanese action dramas) Cheng Kang’s script has Wang Yu handicapped late in the film. Instead of losing a limb, he is instead blinded by the villain before being impaled on a sharp bamboo stake then left for dead in the snow.

THE SWORD OF SWORDS (1968) details the legend of a most sought after blade, forged over the course of ten years by a famous sword smith. The blade disappeared but was discovered years later in the Ming Dynasty. A duplicitous prince coveted the sword and resorted to all manner treachery and barbarism to lay his hands on it. Taking his place as the elder brother of a martial arts school after rescuing the leader in a raid, Fang Shu Shiang (Tien Feng) secretly plans to steal away the mighty blade.

What’s interesting about this film is that unlike Chang Cheh’s heroes of the time Lin Jen Shao (Wang Yu) has no concern with becoming the best swordsman of the martial world. Even after Fang has humiliated him, tried to defame him in front of his teacher and ultimately, murdered his Aunt and kidnapped his wife, Lin cannot bring himself to tackle the cruel Fang Shu Shiang. A tortured hero in a different respect from Cheh’s usual blood and thunder bravado, the goal is still the same. After Lin’s wife is kidnapped, he is ready to sacrifice her to the miscreants instead of rescuing her. Lin’s father berates him until he explains that should he save his wife, the deadly sword could fall into the hands of the barbarous Shang Clan. For that, the country would be thrown into turmoil; The sacrifice of the one for many.

Cheng Kang has designed some of the most despicable villains in the annals of martial arts cinema with his script for THE SWORD OF SWORDS (1968). After everything done to Lin, what finally sets him off is when Fang delivers to him the eyes, ears and noses of his family not long after he has buried them. Fang gets the sword and further uses the most vile means to eliminate Lin. Women in this film are treated in much the same fashion as they would be in a Chang Cheh movie only the violence towards them is amped up considerably. When Lin’s wife is kidnapped (portrayed wonderfully by Li Ching) she is beaten up, thrown down stairs and whipped. Also, a rape is alluded to. Lin’s mother and sister are not spared either as Fang slashes them a number of times before finally killing them.

It seemed that once Chang Cheh got the ball rolling in terms of screen violence, the race was on to top him and this constant stream of blood soaked action films eventually led to a crackdown on violent acts in film. THE SWORD OF SWORDS (1968) is definitely up there with the most vicious productions helped in no small part to Tien Feng’s relentless portrayal of Fang. Even when Lin has been blinded and lives a life of autonomy, the villains still seek him out even though he wishes to be left alone; a life he wanted in the first place, never desiring to attain the powerful sword. However, Lin finally loses all touch with reality when Fang resorts to one of the most savage, sadistic and merciless means to further ruin Lin. He bounds and gags Lin’s wife, infant and the family he has taken up with and sends them out as shields to his men. Lin cuts them down not knowing who they really are till he slashes his wife cutting through her gag. At this point, Lin goes on a Chang Cheh style killing spree as the blood and severed limbs flow freely. One of Cheng Kang’s most accomplished works, he proved he was as adept at taut, suspenseful swordplay action as his peer Chang Cheh. Even Cheh was in awe of Cheng Kang noting that none of his films were flops--a record that Cheh and some of his contemporaries could not lay claim to.

Cheng Kang was a peculiar man who was extremely tough on himself and those he worked with. He expected nothing less than perfection. This extreme brand of self discipline extended to his son, future famous Hong Kong choreographer Ching Siu Tung. Cheng was obsessed with obtaining an impeccable production much like his peer, Kuei Chi Hung. Although Kuei's methods were far more sadistic, Cheng Kang was no less resolute.

CONTINUED...

[teako170]

Tien Feng was a supreme screen villain and never was this more apparent than in his searing, merciless performance as the lead heavy in THE SWORD OF SWORDS (1968).

I literally just got done watching this movie 10 minutes ago!

Very enjoyable film despite some of its choppy edits.

Cheng Kang had some nice camera work going on in this one.

Indeed, Tien Feng was a superb SOB and his "plan of diversion" at the end was quite sickening.

Solid performance from Jimmy (who took a beating in this one - again). Wish Li Ching had some more screen time but solid as well.

And hey, is that David Chiang taking Jimmy's blade (in the chest!) during that final battle?

Killer's Five is one I don't have but would like to see as well.

[venoms5]

You know, something else weird, but I'm watching SWORD OF SWORDS now to re-familiarize myself with the film. Can't remember about Chiang but he did play a villain in SECRET OF THE DIRK (1970), a great and violent swordplay flick with another villainous turn by Tien Feng. I posted a review of it in the review section.

I'm gonna rewatch many of Cheng's key films before I finish this piece so as to have the movies fresh in my mind as I've watched so damn many since seeing them the first time and in many cases, only time.

KILLERS FIVE was okay but I need to see it again. I have THE MAGNIFICENT SWORDSMAN on the way along with some other Cheng movies.

[teako170]

HKCM says he's in it (which I wasn't aware of) but its funny how faces just pop out at you.

I also spotted Lau Kar Leung and Tong Gaai but Yuen Woo Ping and Lau Kar Wing eluded me.

If you're interested, I got some early details on CK I can post.

[venoms5]

Oh hell yeah!

[teako170]

OK, I'll post them tomorrow.

Work in the AM and the old bed is calling me....

[venoms5]

OK, I'll post them tomorrow.

Work in the AM and the old bed is calling me....

Excellent, just when you have the time.

[venoms5]

Yeah that was David Chiang. He stabs him with the dagger, then somebody else then removes the dagger from Chiang's chest.

[CrazyFrog]

These are great posts, venoms5. Seriously, this could be like a book or at least stand-alone material on the web. They're pretty informative.

[venoms5]

These are great posts, venoms5. Seriously, this could be like a book or at least stand-alone material on the web. They're pretty informative.

Thanks, CrazyFrog. A book was my intention as I was hoping to be able to attain access to some translated or untranslated interviews with said directors for the purpose of having something more than just analysis of the films. I emailed Celestial abou it but nothing yet and probably will stay that way. I was going to send them one of these articles (most probably the Cheh one) but there was nothing in their contact email to attach such things.

[teako170]

Originally from the Shouxian County in the Anhui Province. In 1937 he lost contact with his family (Japanese war?) and dropped out of school. He continued his "education" while working as a library intern; studying books on drama and cinema.

During the second Sino-Japanese War he traveled the country as a member of Tao Zhixing's theater group which staged "anti-Japanese" plays. In 1942, he joined Ying Yunwei's troupe in Chongqing and at age 24 penned his first play (Night Rain in the Empty Garden aka Kong Ting Ye Yu) - which was very well received.

After WW II, he studied Art & Design at the Shanghai College of Fine Arts. In 1949, he moved to Hong Kong where he worked as a screenwriter and in 1951, directed his first Cantonese film (Mother & Son in Grief aka Duangchang Muzi Xin).

As you mentioned, he worked as a screenwriter through the 50s/60s. A few of the Shaw films he wrote (before officially joining SB) were A Mellow Spring aka Chungguang Wuxian Hao (1955) and Give Me A Kiss aka Gei Wo Yi Ge Wen (1958). He left the Shaws in 1980 and took up the role as production coordinator for several Taiwanese film companies.

[venoms5]

Originally from the Shouxian County in the Anhui Province. In 1937 he lost contact with his family (Japanese war?) and dropped out of school. He continued his "education" while working as a library intern; studying books on drama and cinema.

During the second Sino-Japanese War he traveled the country as a member of Tao Zhixing's theater group which staged "anti-Japanese" plays. In 1942, he joined Ying Yunwei's troupe in Chongqing and at age 24 penned his first play (Night Rain in the Empty Garden aka Kong Ting Ye Yu) - which was very well received.

After WW II, he studied Art & Design at the Shanghai College of Fine Arts. In 1949, he moved to Hong Kong where he worked as a screenwriter and in 1951, directed his first Cantonese film (Mother & Son in Grief aka Duangchang Muzi Xin).

As you mentioned, he worked as a screenwriter through the 50s/60s. A few of the Shaw films he wrote (before officially joining SB) were A Mellow Spring aka Chungguang Wuxian Hao (1955) and Give Me A Kiss aka Gei Wo Yi Ge Wen (1958). He left the Shaws in 1980 and took up the role as production coordinator for several Taiwanese film companies.

Great. Thanks a million. I'll incorporate this later and reference your assist at the top.

[teako170]

No sweat mate. Always willing to help out a fellow writer.

I goofed on Killer's Five. I HAVE seen that one ( I believe).

Doesn't Ku Feng play a river boatsman who should be spending his free time at Gambler's Anonymous?

If so, I REALLY liked this one.

I believe the flick I was thinking of was the Brothers Five w/ CPP that I want to see.

Not many pix of the man so I scanned this....

[venoms5]

I goofed on Killer's Five. I HAVE seen that one ( I believe).

Doesn't Ku Feng play a river boatsman who should be spending his free time at Gambler's Anonymous?

If so, I REALLY liked this one.

I believe the flick I was thinking of was the Brothers Five w/ CPP that I want to see.

Yeah, that's it. I must see it again as I don't remember it being overly memorable. Then again, I was preoccupied while viewing it. BROTHERS FIVE was good fun. Another shockingly decent Lo Wei movie. At least Shaw's were able to get good movies out of him, IMO.

[mpm74]

Yes, great post. CHENG KANG deserves props. =)

[mpm74]

I just saw CHENG KANG's Invincible Enforcer....

I was a tad disappointed, but still very entertained.

I had no idea that Tony Liu was the guy in HUMAN LANTERNS. My kung fu movie-face skills suck! I need to get used to these AKA's!

Anyways, anyone have an image of the HK poster of this flick? I want to see what it looks like and use a thumb for my upcoming review.

What's the deal with Tony Liu anyways? What's his "contribution" or story to HK film Besides the two films I just saw, and being in Bruce Lee flicks)... can anyone direct me to a bio? I've seen recent interviews with the guy and the mother doesn't age!!!!

[venoms5]

Which movie are you referring to, MPM74? I don't think this will help you but at least you can see what the poster looks like if this is the film you're talking about...

By venoms5, shot with Digimax A503 / Kenox D503 at 2008-04-21

[mpm74]

Sorry, my bad... I was talking about a poster for Invincible Enforcer. Do you have an image for that? (Celestial doesn't seem to have access to that poster either!)...

[venoms5]

I think I have a poster for it somewhere actually. If I do, I will post you the image. I'll let you know in case I don't have it:D.

[mpm74]

Sweet. Thanks. I appreciate it!!

[venoms5]

I haven't found it in any of my non kung fu rolls of posters. I do think I have it possibly mixed in somewhere else. At any rate, here's a good shot of the poster that will most likely serve you better than me taking a snapshot of the poster...

http://www.hkcinemagic.com/en/gallery.asp?fid=3186&id=19959#pic

[Tosh]

I haven't really been in this section to much, nice read though, I've always enjoyed Cheng Kang's movies.

[Cognoscente]

Wong Jing feared Cheng Kang. Jing's directorial debut, Challenge of the Gamesters, was released around the same time as The King of Gambler. Jing was surprised that COTG was the bigger hit since, in theory, he should have lost. Wong Yue wasn't as good or as big as Angela Mao, Patrick Tse wasn't as handsome as Danny Lee, and Cecilia Wong wasn't as charismatic as Sibelle Hu.