In Boxer from the Temple, he really gets to shine, and it is his signature role.
It’s a shame Ng’s career never really took off, as his action and acting chops are exemplary. He is in A Deadly Secret, also choreographed by Hsu Hsia. Starring as ‘Crazy Kid’, Ng Yuen Jun appeared in Five Superfighters in one of the main roles, and carries Boxer from the Temple like a veteran. This reinforces the depth of the depiction of his character tenfold, and sets up the bite of the reality sandwich that occurs later in the narrative. The dialogue and actions of the ‘Crazy Kid’ are at turns naive, naturalistic and surprising for a kung fu film one scene sees him discussing the prostitute, with such an innocent mindset that he didn’t consider her former profession a hindrance to their getting together. His ability to weave simple storylines into classic kung fu is undeniable, and Boxer From the Temple sees him really challenge himself. By 1979, Kuang was dividing his time between Shaws and independent studios, and had written my childhood favourite Death Duel of Kung Fu the same year.
FIVE SUPERFIGHTERS 1979 MOVIE
It is no surprise that the screenplay is written by Ni Kuang, perhaps the all time greatest kung fu movie creator. He arrives at a village and makes friends easily, and becomes a chef in a Vegetarian restaurant! There, he gets involved with the local gangsters and ends up befriending a prostitute who has ran away from a brothel and has a young son. The Temple scenes are short and to the point and the lad, nicknamed ‘Crazy Kid’ is cast out in the world not through his wrongdoings, just because he doesn’t fit in. As in most genre films of the time, the lad is an outcast but is then trained by a Monk who takes a liking to him. The almost universal trope of the baby left by its sick/dying mother at a place of refuge opens the film, as the young one is left at the steps of the Shaolin Temple by the ‘mad lady’ who is never present onscreen. The film is very interesting because it takes existing kung fu movie tropes of the time and twists them to create something with a little originality. My anticipation mounted, and I hoped not to be disappointed. As a viewer, I knew of and loved Five Superfighters, but was less aware of Boxer from the Temple. The former needs no introduction, and stands as one of the undisputed classics of the time, Shaw or not. In 1979, Hsu moved back to Shaws as head choreographer and made two films: Five Superfighters and Boxer from the Temple. He also acted in the latter as the ‘King of Sticks’, his most memorable part. As the late 70’s Independent kung fu boom occurred, he worked on the action in the immortal Snake in the Eagle’s Shadow and Drunken Master under Yuen Woo Ping. The Venoms came in to their own towards the end, but one man to me is the third best and creator of some of the finest Shaws action: Hsu Hsia.īeginning as an extra and actor in the 60’s, he appeared in ridiculous amount of classics including The Duel and The Deadly Duo. With each of the four now galvanized by this period of teaching, they are now ready to meet their tormentor.“The Boxer from the Temple” Chinese Theatrical PosterĬast: Ng Yuen Jun, Kwan Feng, Wong Mei Mei, Lau Fong Sai, Wang Sha, Lam Fai Wong, Lau Hok Nin, Keung Hon, Cheng Miu, Chiang Cheng, Baan Yun Sang, Chan Fai Kei, Cheung Hei, Chin Siu Ho, Chow Gam Kong, Chui Fatīeing the two main choreographers of the classic Shaw Brothers output, Lau Kar Leung and Tang Chia’s contribution to martial arts cinema with the great studio cannot be denied. Meanwhile, the original shamed master is also preparing his skills and, in between drinking bouts, sharpens up his swordplay skills. This opening animosity also turns into a fruitful teacher/student relationship. Finally, the third is given a chance to learn pole-fighting from a fisherman after a failed attempt to steal his fish. An initial misunderstanding is turned into a teaching opportunity when the second student is taught legwork by the high-kicking woman. The second meets a bean curd seller and her blind father. After some persuasion, the master accepts the newcomer and decides to teach him the precise Crane movements. The first avenger meets an eccentric Crane style master who easily beats him during a fight. However, they are well aware of their limitations and decide to split up in the search for worthy masters. It is this dejected state that persuades his three students to look for revenge against the mysterious wanderer. The defeated master stumbles away with his pupils, but is left shattered by his complete loss of face. After meeting a humble, unassuming master and his three eager students, the fighter continues his arrogant mission and leaves another few reputations in tatters.
Trouble arrives in town when a cloaked kung-fu expert sets about embarrassing local masters with his exceptional ability.