Neglected Directors of Shaw: Hua Shan

[venoms5]

Here is a incomplete sample of a piece on Hua Shan...

NEGLECTED DIRECTORS OF SHAW: HUA SHAN

HUA SHAN: MONSTERS, CRIMINALS & SWORDPLAY EXPLOITATION

If ever there was a Shaw director that was neglected or underrated not just in America, but in Hong Kong as well, it’s Hua Shan. A gifted directorial talent whose most known films outside of Asia would be SUPER INFRA MAN (1975) and a couple of his sword pictures. A real shame, as like Italian director Umberto Lenzi, Hua Shan’s most refined and interesting efforts are his gritty and sometimes ultra violent gangster dramas.

Born in Shanghai in 1942, Hua Shan started out as an assistant cinematographer for Shaw Brothers in 1963. A handful of years later, Hua was promoted to lead cinematographer status tackling photographic chores on a number of swordplay films such as Chang Cheh’s THE WANDERING SWORDSMAN (1970), Shen Chiang’s THE WINGED TIGER (1970), Wang Yu’s THE CHINESE BOXER (1970), Cheng Kang’s THE 14 AMAZONS (1972) and Chang Tseng Chai’s violent gambling actioner THE CASINO (1972).

Although such directors as Kuei Chi Hung would become notable for his gritty and often sadistic crime films, Hua Shan followed with some fine examples of his own. Even though his entries into the cinematic world of the Triad Organizations broke no new ground, one film in particular would arguably have some resonance with John Woo before he shot A BETTER TOMORROW (1986). Remarkably similar, Hua Shan’s 1979 film THE BROTHERS stars Danny Lee and Tony Liu Yung as brothers from a poor family. They live underneath a bridge in a dilapidated hovel. Zhi Qiang (Lee) accompanies his mother to a temple to worship the Goddess of Mercy but Zhi Gang (Liu) refuses to step foot inside the temple. Ultimately, Zhi Qiang gets an education and joins the military while Zhi Gang works in a ship yard moving freight. Refusing to pay protection money, Zhi Gang fights the gangsters oppressing the poor workers. He eventually joins the Triads and soon has lots of money and comforts. The film shifts back and forth from the two brothers (mostly from Zhi Gang’s perspective) with their mother at the center. Zhi Gang buys her a big house yet conceals the truth as to the means by which he got the money to purchase such extravagances. Not long after, Zhi Qiang returns home being assigned to the police force to assist them in breaking up a gang war between two local syndicates. It is here he learns his brother is one of the leaders. Inevitably, things don’t end up good for the two siblings as they are inexorably pitted against one another. A sad twist of fate comes at the end when Zhi Gang decides to give himself up after his lover is brutally raped and murdered. He kills the opposing gangsters but gets into a fight with his brother who desperately tries to stop him. He is gunned down in the street.

Whereas this film accentuates the dramatic elements much like the Woo picture, Hua Shan goes for formula action for the conclusion. An interesting theme displayed throughout the film is that of religion. The film shows Zhi Qiang attending church ceremonies with his mother and he grows up a focused and respectable young man. However, Zhi Gang declines ever entering the church and ends up involved in a life of crime. The irony is that even when he does enter the abbey in the hopes of divine intervention saving the life of his mother (which it does), it doesn’t save his fiancé. When he surrenders to his brother, he exclaims his desire to marry in the chapel before he is arrested. But before this can happen, his wife-to-be is brutally violated by attackers from the rival gang. This reverts Zhi Gang back to his violent tendencies in order to get revenge, or possibly justice depending on your point of view.

THE BROTHERS (1979) is a very good character play only slightly undone by its formulaic ending. It’s not bad, but I was expecting something a little more upbeat considering what the film delivered during its first 80 minutes. More akin to exploitation laced with some nicely drawn villains is Hua Shan’s earlier BROTHERHOOD (1976). A strikingly well made dramatic action film, the first third of the picture delivers a thorough portrayal of Triad ceremonies and various double crosses of various characters to become Triad leaders. During the final half, the film shifts gears and becomes a gangster version of FATAL ATTRACTION (1986) with a horridly vicious Hu Chin undertaking violently drastic means to keep her man.

Based on a novel by Jiang Zhi-nan, BROTHERHOOD (1976) tells the story about a small time gangster being initiated into a Triad organization. The ceremonies to become a Triad are shown in detailed fashion and recall the earlier Kuei Chi Hung movies THE TEAHOUSE (1974) and BIG BROTHER CHENG (1975). However, BROTHERHOOD (1976) accentuates the violence to an alarming degree. Whereas the Kuei films highlighted the dramatic elements, Hua’s film puts the spotlight on the cruel nature of these gangsters while featuring just enough character development to scrape by; Enough to make an emotional impact when one of the characters is blown up, set on fire, stabbed repeatedly with broken bottles, has their ears sliced off or whatever else these heartless individuals can come up with. The film features probably the best fight scenes performed by Tony Liu Yung. The Yuen’s really make him look good here especially with his weapon of choice-- an odd variant of the chained whip. It comes into play several times during the film but is most effective during the final free-for-all.

Originally, the Shaw’s had planned to let the villains live for a proposed sequel (which gives further leverage to my theory that happy endings were against company policy!) but author Jiang opposed this demanding that Liu Yung’s character live in the end. However, Liao (Yung) does indeed die at the films end but his younger brother lives. According to an interview with the director, Liao does in fact make it till the final frame; Possibly there was a different ending shot?

In the early 80s, Hua Shan switches gears yet again and directs a few swordplay films leaning towards the exploitation market with depictions of sex, nudity, gore and wild fantasy often out of context with the films subject matter. One of the most interesting of these is USURPERS OF EMPEROR’S POWER (1983; aka MYSTERY UNDER THE CANDLELIGHT). The more enigmatic title is represented in several brooding and story defining moments but considering its overly violent and supremely downbeat excesses, the more well known title fits perfectly.

The film details a turbulent time in China’s history during the rise of the Sung Dynasty. The film mixes the historical with the phantasmagorical creating an uneasy marriage of beautifully accomplished sequences and grotesque scenes of brutality. Take for instance the opening scene-- having been granted amnesty for surrendering, the former Tang Emperor, Lu Yi is humiliated by the new King’s ambitious son, Zhao Guan Yi when he rapes his concubine in an elaborate fashion; even having a painter capture the seditious and brutal act on paper. Lu Yi’s personal guard Li Lang (Liu Yung) vows to avenge this insult. Lu Yi kills himself as dramatic music swells in the background. Lu Yi proclaims, “I know what must be done…” as he strips away his military garb and exits out into a swirling snow storm. This sequence is brilliantly captured by director Hua Shan and possibly the single best scene in the entire film.

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[Bravery]

An enjoyable read, as always. Looking forward to the finished product.

The Brothers is a great film.

[venoms5]

I liked it very much. Other directors like Kuei Chi Hung are cited for their gritty crime films but Hua Shan has some striking entries of his own. Some of these more obscure movies are quite good and it's a real shame they probably won't find a proper audience.