Picture courtesy of Celestial Pictures social media. |
Yet, the question still arises, “what are his best films?”
Truthfully, when it comes to his work with the Shaw Brothers machine, most of
it is impressive and I usually tell people that starting anywhere or watching
any of them is going to be worth their time. I do admit. I have favorites
though. And for this year’s list I decided to focus on what I would consider
his five best films as a director. Mostly because I love to talk about his work
in any form that I can, but also I want to start a discussion about which films
was he able to balance in the best manner. Now, all his films are fantastic so
I assume each of these can be contested and I hope that our readers out there
are willing to do so and share your memories, thoughts, and personal analysis
of the films with us. Liu Chia-Liang made some glorious films and I cannot
cover them all in just one article. So without further ado, here are my choices
for the five best Liu Chia-Liang films from his time with Shaw Brothers. Feel
free to share your thoughts on the list!
Personally, Challenge
of the Masters was a film that had to grow on me. Like many of Liu
Chia-Liang movies, it’s fairly dense in its thematic material about the roles
of the martial arts and those that practice them and it features a narrative
that might occasionally fringe on being a bit too complex. However, because of
the themes and a handful of fantastic performances from many of the director’s
favorite performers, Challenge of the
Masters rises above the normal Shaw Brothers fare to be one of his best.
The training sequences are effective, the performances are shockingly humane,
and the general plot moves at a brisk pace that keeps the audience entertained
without straying too far from its intent. It may not have been my favorite at
first, but with repeated viewings my love for Challenge of the Masters grew into a massive amount of respect and
admiration.
In many ways, I view Martial
Club and Challenge of the Masters
as one of the best double features that any Shaw Brother fanatic can throw
together. This is because, outside of the obvious connection of director Liu
Chia-Liang and star Gordon Liu, they both carry the same thematic genetic
material. Martial Club, on one hand,
might be a bit more aggressive and entertaining in how it approaches those
characters and their struggles with how to handle the martial world. Once
again, the film is packed with some very strong performances from its cast and
while Liu Chia-Liang is known for his larger than life and complex onscreen
choreography, the finale which features a one-on-one battle between Gordon Liu
and Johnny Wang in a very tight alley might be one of my favorite sequences the
director ever filmed. It’s just iconic. It’s this balance between the
philosophies of the martial arts and the entertaining aspects of a fun kung fu
film that really make this one work.
Heroes of the East
might be one of Liu Chia-Liang’s weakest scripts he has ever had to work with
because the plot is a bare bones one that focuses on a romantic center and what
boils down to a gimmick: Chinese martial arts versus Japanese martial arts. The
reason then that Heroes of the East
ends up being my third favorite film from the director is that he never lets
the film fall prey to the gimmick’s propaganda. He treats all of the styles on
display and the characters with a sense of respect and honorable regard. This
is paralleled by the stances of the film’s lead character, once again played by
Gordon Liu, and how he approaches the entire gimmick of the film’s plot. This,
of course, lays the foundation for a phenomenal series of fight sequences
between a very diverse series of different styles and weapons. Again, Liu
Chia-Liang gets the balance here down well and it makes this one of the more
entertaining Shaw Brothers films ever filmed.
As the most controversial pick in my top five, particularly
when it’s sitting in the #2 slot, I adore Shaolin
Mantis. Compared to the previous three entries (and the one after this), Shaolin Mantis is easily the one film
that doesn’t fully dabble in the martial arts philosophies that Liu Chia-Liang
loved to lace his films with. It’s there, in smaller doses, but it doesn’t make
up most the layers in the film. Shaolin
Mantis replaces those with a slightly cynical political espionage slant
that gives this film a fresh tone compared to much of the rest of his
filmography and a pulpier atmosphere that works splendidly with the plot. The
key for why this film ranks so highly on my list is the characters and their
emotional placement within the standard kung fu narrative structure that
arises. This is not only one of the few Shaw Brothers films where the romantic
story that powers it works, but it relies on crucial chemistry between its cast
to energize the entire second half of the film. He gets it to work in blazing
fashion. Add to its effective character work the incredible chorography and
fight sequences that make up giant portions of both the second and third act
(with David Chiang as the lead in perhaps his most challenging action role he
ever did for Shaw Brothers) and this film just has me hook, line, and sinker
from beginning to end. Now I know not everyone will agree on this film being
ranked this high, but it wouldn’t shock me if the next one is the film that
everyone will agree on…
Of course, the #1
entry on this list is obviously The 36th Chamber of Shaolin. At this
point, I’m not sure there are too many people out there that will argue this
placement. The film has even risen above just being a perfect film for martial
arts film fanatics. This is a widely-praised film on almost all facets from a
variety of cinephiles. The entire political and social commentary is mixed with
Liu Chia-Liang’s martial arts philosophies, it’s powered by a sense of
determination of an “every man,” played once again with effect by Gordon Liu,
and it’s perfectly paced even when it spends a giant portion of its run time
with training sequences. The choreography is spectacular and its messages and
themes resonate for beyond its run time leaving an echo effect that lifts the
entire film up. Of course, while its two sequels are certainly entertaining in
their own regards, nothing really touches just how pristine this film is as a
whole. Easily establishing itself as the best film that Liu Chia-Liang ever
directed and one that still hits its new audiences to this day.
Of course, this is only one man’s opinion about an
illustrious career and a handful of films that embrace a legitimate amount of layering and analysis.
What are some of your favorite Liu Chia-Liang moments, movies, and motives?
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