少林三十六房7.7

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• 来自网友【他他】的评论Two Hong Kong martial arts flicks made in 1978. Both produced by the Shaw Brothers Studio and penned by Ni Kuang, the eminent wuxia screenwriter. Chang Cheh's FIVE DEADLY VENOMS and Liu Chia-Liang's THE 36TH CHAMBER OF SHAOLIN are among the best crops of the studio’s copious productions and exalted by genre fans worldwide. The former constitutes an inspiration for Quentin Tarantino’s KILL BILL diptych whereas the latter receives a homage paid by legendary USA East Coast Hip-Hop Collective Wu-Tang Clan, whose debut album is named “Enter the Wu-Tang (36 Chambers)” released in 1992. Distinct from the poetic “wuxia” habitus and choreographic wizardry imagineered by King Hu, another doyen in the genre filmmaking, Chang and Liu’s films primarily rely on real kung fu practitioners to keep audiences transfixed. The six disciples in FIVE DEADLY VENOMS are all members of Chang’s stock company. Each acquires a unique style of martial art emulating a poisonous creature (Centipede, Snake, Scorpion, Lizard and Toad), except the youngest one, who is acquainted with all five styles, but a jack of all trades and master of none.Liu Chia-Liang is a famous martial artist in Hong Kong and works as a choreographer in many a Chang Cheh’s picture. Gordon Liu, the star of THE 36TH CHAMBER OF SHAOLIN, is his “god brother” and an expert in “Hung Ga Kuen”, a southern Chinese martial art belonging to the southern Shaolin styles. Both films open with sequences that exhibit the stunning prowess of their distinctive martial arts. FIVE DEADLY VENOMS has an expository prologue, followed by the main narrative where Yang (Chiang Sheng), the youngest and last disciple of the infamous Five Venoms Clan, endeavors to fulfill his master’s dying wish to seek out his five senior brothers and purge the clan of the evil ones. Before soon, 4 of the 5 are revealed, 2 good vs. 2 evil, with only Scorpion’s identity undisclosed as an unknown quantity. In Chang’s dichotomous construct of fraternal affinity and backhanded avarice, the most venomous ones, surprisingly enough, are not the said evil disciples, but the corrupt government officials and functionaries, while ordinary folks are often predisposed to venality and authority’s browbeating. The same anti-Establishment tenor can also be found in THE 36TH CHAMBER OF SHAOLIN. On a whole, it is a pedestrian revenge story about the historical figure Monk San De (Gordon Liu), although in the film he represents a fictionalized version. Persecuted by General Tien Ta (Lo Lieh) of the Manchu government, San De winds up in Shaolin Temple barely alive. Sworn vengeance for his family and fellow Han rebels, San De shows preternatural martial arts facility and finishes the training of Shaolin’s 34 chambers within a mere six-year span (he only fails at the 35th chamber which is the highest one, representing enlightenment and wisdom). San De broaches a retrospectively fateful proposition to initiate a 36th chamber, where he can recruit lay people and teach them Shaolin kung-fu, which would later court total destruction to the secluded monastery by the government in the name of anti-Qing activities. Such stories would become a motherlode for legions of Shaolin wuxia fictions and films. In fact, the film spawns two sequels RETURN TO THE 36TH CHAMBER (1980) and DISCIPLES OF THE 36TH CHAMBER (1985), actualized by almost the same team. However, San De’s righteous tit for tat crops up only in the last 20 minutes, and is expedited to reach the finish line (a similar underside could also be ascribed to FIVE DEADLY VENOMS, though to a lesser extent) without much thrill and suspense as San De has become invincible at that point. The meat of Liu’s film is about San De’s serialized training process, and it duly serves up an ebullient banquet on the allure of Chinese martial arts, frequently purveying koans in tandem with the Herculean physical trainings (a mixture of real kung fu skills and inventive cinematic tricks). Gordon Liu is a beady-eyed, diligent disciple endowed with a strenuous perseverance and a tonic physique. He has great potentiality to take the baton from Bruce Lee as the next kung-fu star, but seems wanting in Lee’s glint eye of resolute and cocky confidence. THE 36TH CHAMBER OF SHAOLIN is his star-making role and a veritable stepping stone to induce Hong Kong cinema’s kung fu mania and fame.In comparison, FIVE DEADLY VENOMS is funnier and bloodier (it is very amusing to espy Chang’s cartoonish way of showing how a character pegs out, an effective method to offset the blood and gore), and without the participation of the fairer sex (in this regard, THE 36TH CHAMBER OF SHAOLIN is none the better, it has only one subordinate female character), Chang’s homosocial milieu is also evidently homoerotic. Kit out in distinct color schemes and often barely clad, Lizard (Patrick Kwok) and Toad (Lo Meng) are like two sworn brothers whose closeness is far deeper than the usual quotient. Chang also wides audience’s horizon for the ingenious display of torture rigs (a golden armor with ten thousand needles) and murderous ploys (offed by a long needle thrusted from nostril to brain). Although the finale is somehow bathetic as the victory is too undemanding for the good guys, the film still is a dazzling knockout and Chang Cheh’s simple narratology and straightforward aesthetics are irrefutably approachable and captivating. referential entries: Patrick Tam's THE SWORD (1980, 6.9/10); Robert Clouse's ENTER THE DRAGON (1973, 7.1/10); King Hu's LEGEND OF THE MOUNTAIN (1979, 7.9/10). English Title: Five Deadly VenomsOriginal Title: Wu du 五毒Year: 1978Country: Hong KongLanguage: Mandarin Genre: Action, Mystery Director: Chang Cheh 张彻Screenwriters: Chang Cheh 张彻, Ni Kuang 倪匡Music: Chen Yung-Yu 陈永煜Cinematography: Kung Mu-To 龚慕铎, Tao Hui-Chi 曹惠琪Editor: Chiang Hsing-Lung 姜兴隆Cast:Chiang Sheng 江生Philip Kwok 郭追Sun Chien 孙建Wei Pai 韦白Lu Feng 鹿峰Lo Meng 罗莽Wang Lung-Wei 王龙威Sun Shu-Pei 孙树培Liu Huang-Hsi 刘晃世Ku Feng 谷峰Wang Ching-Ho 王清河Shen Lao 沈劳Dick Wei 狄威Rating: 7.3/10English Title: The 36th Chamber of ShaolinOriginal Title: Shao Lin San Shi Liu Fang 少林三十六房Year: 1978Country: Hong KongLanguage: MandarinGenre: Action, AdventureDirector: Liu Chia-Liang 刘家良Screenwriter: Ni Kuang 倪匡Music: Chen Yung-Yu 陈永煜Cinematography: Arthur Wong 黄岳泰Editors: Chiang Hsing-Lung 姜兴隆, Li Yen-Hai 李炎海Cast:Gordon Liu 刘家辉Lo Lieh 罗烈Wilson Tang 唐伟成John Cheung 张午郎Hu Yung-Ta 胡荣达Lee Hoi-Sang 李海生Henry Yu 于洋Norman Chu 徐少强Wu Hang-Sheng 吴杭生Wong Yue 汪禹Wei Hung 韦弘Chen Szu-Chia 陈思佳Wang Ching-Ho 王清河Hon Kwok-Choi 韩国材Hua Lun 华伦Liu Chia-Yung 刘家荣Yuen Siu-tien 袁小田Rating: 7.4/10
• 来自网友【恩来居士】的评论其实虽然故事挺老套的，不过还是挺好看的，我们也不必要去硬抠什么思想什么哲理的，因为这本来就是一部给大家看的好看的电影。我想看这部电影的人都不会是冲着情节去的吧，否则你肯定会失望的，毕竟刘家良是武指出身的，你要去看多么好的故事，那当然是不可能的了，而这片子最出彩的，自然就是主角刘家辉在少林寺三十五房练功的过程以及始终贯穿整部片子的精彩打斗了。少林寺学武的那一段是我最喜欢的，特别是最先基础功的那十房，非常地生动，精彩，也不失幽默。我是不清楚真正的少林寺是否真是那么练功的，不过影片里倒也表现的很真实，没有什么乱七八糟花哨的武功，一步步都是实打实地练出来的，让人很信服。刘家良设计的动作也还算挺精彩的，比起那些比较“虚”的片子来看，它是很“实”的，更多地倾向于真实的搏击风格。相比于那些戏班子里出来的武术指导，有着真材实学的刘家良自然要比他们的动作现实很多，也增加了一份真实的美感。不过从现在的角度来看，似乎里面的动作节奏有点慢，而且比起李小龙那种真正的完全实战的搏击动作来，毕竟更多了武术套路，两人打起来，见招拆招，还是有点像跳舞的。喜欢武术的朋友可能会很喜欢，但我们这些喜欢现代搏击的人，看起来就稍微有点不舒服了，欣赏是个人的事情，所以还是要自己看过才知道。总之这算是一部中规中矩的电影吧，喜欢邵氏，喜欢武打片的朋友推荐一看，否则就也没什么看的必要了。