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kung fu

It Came from the Sinosphere: The Flying Guillotine

December 18, 2012 by Sara K. Leave a Comment

There is a new movie, which I have yet to see, called The Guillotines. It’s directed by Andy Lau (who, among many other accomplishments, starred in one of the most popular versions of Return of the Condor Heroes and directed the Hong Kong version of ‘Initial D’), and one of the actors is Ethan Ruan, who starred in both My Queen and Fated to Love You. This gives me an excellent excuse to talk about the original Chinese-language guillotine movie, The Flying Guillotine.

The Story

The emperor gets a frightening new weapon, called the “flying guillotine” for his team of guards. Eventually, the paranoid emperor orders the assassination of the weapon’s inventor. This disillusions Ma Teng, one of the guards. However, when your emperor is paranoid, questioning him is super-dangerous, so Ma Teng has to flee and live the life of a fugitive, constantly terrified that the flying guillotine will soar back into his life … and cut off his head.

About the “Flying Guillotine”

Supposedly, this weapon really was used during the Qing dynasty, however there are no good historical descriptions of it, which allows creative people to fill in the details with their imaginations.

This movie is not the first time this weapon has appeared in fiction – I recall a 1960s wuxia novel making reference to the weapon – but it’s the first work famous for featuring this weapon, and without this movie we probably would not have seen any other ‘guillotine’ movies.

There are right ways and wrong ways to use flying guillotines in movies. Let me start with a wrong way.

The Wrong Way to Do It

In Tsui Hark’s Seven Swords, we see the flying guillotine being used to kill people within the first few minutes of the movie.

The flying guillotine at the beginning of Seven Swords

The flying guillotine at the beginning of Seven Swords


Unless the victim is a child, puppy, or otherwise obviously innocent and cute, or we can immediately understand the how the death devastates other people, or you’re a film genius, you cannot get the audience to feel a powerful emotional hit when somebody dies in the first few minutes of a movie. Note that the saddest movie in the world has a cute kid and a situation that is really easy to understand.

Flying guillotines are not easy to understand.

Unless you assume that the audience is already familiar with flying guillotines, it just looks like a fancy weapon – and heck, I was familiar with the flying guillotine, and even I felt a distinct lack of resonance.

The Right Way to Do It

The inventor develops the concept of the flying guillotine.

The inventor develops the concept of the flying guillotine.

The Flying Guillotine spends a lot of time explaining what the flying guillotine is. It shows how the inventor got the inspiration; it shows the weapon being demonstrated on a dog before the emperor; it shows the guards training for months on wooden dummies. This is to ensure that the audience has a very clear understanding of how the weapon works. It’s almost a half-hour into the movie before the weapon is used on a human being, and by then, we know exactly why we should be freaked out.

The guards are practising using the flying guillotine

The guards are practising using the flying guillotine

How does it work?

1. The attacker, hidden, throws the flying guillotine out, while holding onto the chain.
2. The flying guillotine lands on the victim’s head, like a hat.

Oh No!  There's a flying guillotine on his head! We know what happens next...

Oh No! There’s a flying guillotine on his head! We know what happens next…

3. The attacker yanks the chain, which causes the blades inside the hat to slice the victim’s neck.
4. The attacker, via chain, pulls the guillotine back, which comes with the head.
5. The victim is left standing there, only without a head.

This is a scary weapon because:

1) It seems to come out of nowhere – so the characters always have to be careful, lest a flying guillotine comes in the window, into the courtyard, out from the woods, etc – YOU ARE NEVER SAFE!!!!
2) We get to see the flying guillotine land on the victims head before the head gets cut. This gives the audience a moment to feel horror as they anticipate the next step.
3) The head seems to simply … disappear. Bystanders are left clutching the now-headless victim, not understanding where the head went (the audience, of course, understands too well). The movie repeatedly shows the moving bodies of headless people … and it’s always creepy.

All of the above relies on the audience understanding what is going on. If the audience doesn’t know about the danger of flying guillotines coming from hidden locations, the audience won’t constantly be afraid that the protagonists’ heads will get cut off with little advance warning. If the audience doesn’t know how the flying guillotine works, then the audience won’t feel quite as terrified when one lands on a character’s head. If the audience doesn’t understand how it works, then the audience will be confused instead of creeped out by the headless people.

The Emotional Resonance

What seals the deal, of course, is the emotional resonance.

First of all, there are lots of reaction shots. They are just right. They are usually pretty quick, so they don’t drag on and overstay their welcome. However, they effectively communicate the characters’ terror. The dread is contagious.

A reaction shot

A reaction shot

And the movie is very good at stepping up the tension right up to the climax. First, even when the guards are just training, it feels as tense as a sword hanging by a thread – we know that it’s only a matter of time before heads roll, or more accurately, get snatched away. Then heads do get snatched way. Then Ma Teng gets married, so his wife is also in danger. Then Ma Teng has a child, so there is also now a cute kid in danger.

The villain has kidnapped the cute kid!!!!!!

The villain has kidnapped the cute kid!!!!!!

Another way the film ups the emotional resonance is splitting fight scenes with a scene that gives the fight meaning.

Split Scenes

The woman sings and dances.

It’s time for a song

The first split scenes is a fight that happens against a … Huangmei opera number. Shaw Brothers happen to be the biggest producer of both Huangmei and kung-fu movies, so it’s not surprising that they would mix the two. As Ma Teng fights for his life, this woman sings and dances. Aside from providing a beat for the fight, it’s a stark contrast to have such an upbeat song for a life-and-death battle. But I think that’s the point. It’s supposed to jolt the audience … and also give the audience a sense of why Ma Teng wants to stay alive.

Let us dance - by which I mean fight to the death - to the upbeat music!

Let us dance – by which I mean fight to the death – to the upbeat music!

The song featured in the movie was also covered by Teresa Teng (Deng Lijun), Taiwan’s greatest cultural export and the most popular singer in the entire history of East Asia.

The other split scene is when Ma Teng’s wife gives birth inside, while Ma Teng fights the two assassins outside. Aside from contrasting birth and death, splicing the childbirth scene and the fight really heightens what’s at stake.

gui07

The Sounds

There is a set of distinctive sounds used with the flying guillotines. First, there is the whirring sound of the guillotines themselves, and then there is the signature music which always plays after the guillotine has completed the decapitation. This trains the audience to always associate this pattern of sounds with the guillotines … so that as soon as the sounds play the audience can anticipate the terror. For example, when Ma Teng has nightmares, the sounds play, and the audience at first thinks that a guillotine is really coming before it’s apparent that it’s just Ma Teng’s imagination. It gives the audience a sense of what it’s like to be Ma Teng.

There is also the distinctive bell that rings when the guards are ordered to carry out another assassination.

I’m the kind of person who is much more easily spooked by sound than by sight.

Autobiography?

I pointed out that Ni Kuang wrote the script for The 36th Chamber of Shaolin. He also wrote the screenplay for this film … and I strongly suspect it’s autobiographical.

Am I suggesting that Ni Kuang is some time traveller who used to be one of Emperor Yongzheng’s guards? No.

He was, however, a public security official for the People’s Republic of China in the 1950s. Part of his job was writing death sentences. He became suspicious about some of the cases brought before him, and asked a local party chief about it. The chief replied that if he kept asking such questions, Ni Kuang himself would be sentenced to death. Out of fear for his life, Ni Kuang eventually fled the People’s Republic of China and settled in Hong Kong, where he became one of the most popular Chinese-language writers of the 20th century.

I don’t think it is can be a coincidence that Ma Teng and Ni Kuang’s lives have such parallels.

Availability in English

It is easy to get this movie with English subtitles.

Conclusion

This is one of my favorite Chinese-language movies. Is it the kind of movie which you can use to demonstrate your high-culture credentials? No. But I have seen my share of art house films, and at least to me, most do not have as much feeling as this kung-fu flick.

Recommended.

Next time: TBD (though there is a high probability that it will be a manhua by Lai An aka Ryan)


The more Sara K. learns about Chinese-language media, the more she realizes how much she doesn’t know. Sometimes she feels like her knowledge is inadequate for writing this column. However, she makes no pretence about academic qualifications (or other kinds of qualifications), and perhaps her novice status makes her posts more accessible to people new to Chinese-language media.

Filed Under: It Came From the Sinosphere Tagged With: flying guillotine, kung fu

It Came From the Sinosphere: The 36th Chamber of Shaolin

August 6, 2012 by Sara K. 3 Comments

The opening title - 'The 36th Chamber of Shaolin'

The 36th Chamber of Shaolin does not have a subtle opening. It wastes no time in telling the audience that this is a kung-fu flick.

Gordon Liu shows off his fists.

The credit showing the screenplay is by 'I Kuang'

Ah, the screenplay is by Ni Kuang. Ni Kuang is an extremely prolific writer of science fiction and wuxia, and a personal friend of Jin Yong. I am sure I will bring him up again in this column, so I’ll postpone giving him a proper introduction.

Gordon Liu punches a curtain of water

All of this has nothing to do with the plot, it’s just assuring the audience that ass will be kicked over the course of the flim.

Gordon Liu strikes a kung-fu post with a red sunset in the background.

Background

Shaw Brothers Studio was the biggest movie company ever based in Hong Kong, and the 36th Chamber of Shaolin is one of their most famous titles. Before their demise in the 1980s, the Shaw Brothers Studio produced over 1000 films. These included titles such as “Hong Kong 73,” “My Name Ain’t Suzie,” “Tropicana Interlude,” “Mr. Funny-Bone Strikes Again” (adapted from a manhua) and “Sexy Girls of Denmark”. However, the Shaw Brothers studio is now best remembered for their martial-arts flicks.

This is the move which launched its lead actor, Gordon Liu, to stardom. In addition to starring in later Chinese-language martial arts flicks, he also performed in the Kill Bill movies as well as in a Bollywood movie.

I admit I am a Shaw Brothers newbie. My explorations are just beginning, and I still don’t completely understand their system of stars and directors. However, I am sure I will review other Shaw Brothers films for this column, so I hopefully will be able to offer deeper insights then.

Story

San Te is a student while the Manchus are oppressing the people. After the Manchu government kills his family, he realizes that book-learning is useless and decides to learn martial arts so he can fight back.

San Te watches his father being assaulted.

So he travels to Shaolin temple to become a monk and learn their martial arts techniques.

San Te arrives at Shaolin Temple in a basket full of vegetables.

Hey, why is there a man in our bok choy? We’re vegetarians.

At the Shaolin temple, he spends a year sweeping leaves before his martial arts training commences. And it is a brutal training regimen. He has to pass through the 35 chambers, each taxing his physical capacities in a new way.

Monks life buckets of water to increase their strength.

This is the 34th “chamber”.

After passing through all 35 chambers, San Te requests permission to create the 36h chamber—a chamber where he can teach laypeople martial arts so they can resist the oppressive Manchus.

The Fighting

The fighting in this moving is essentially dancing. It’s choreographed, it shows off the performers’ physical capacities, it is intended to be visually impressive, and it communicates a message. And it is good dancing.

A shot from a fight scene

It was actually really hard to get decent screenshots of the fight scenes. It’s all about how the actors move, and the screenshots do not show that.

A screenshot from the bamboo stake fight.

For example, there is a really cool fight with bamboo stakes, but it is impossible to convey the coolness in screenshots. What makes it cool is that it doesn’t just show off the actors’ dance stage fight skills, it’s also imaginative. It’s not a generic weapon fight. The bamboo stakes are used in unexpected ways. It builds on the training at the Shaolin temple—letting the audience recognize how elements from different fights fit together is pretty sweet.

Another imaginative fight – San Te fights a bunch of goons with lanterns:

San Te wields lanterns

San Te burns the goons with the lanterns.

On the second viewing, I noticed how much the movie makes use of water. Water is used in many other dance films too.

Splashing Water

If you find the prospect of free tickets to the ballet more exciting than free tickets to a pop concert (me), watched MGM musicals for the dance sequences (me again), or have ever attended a dance film festival (that’s also me), you should try some of these kung-fu flicks.

Gordon Liu’s Performance

The thing which most impressed me about Gordon Liu’s performance was how he portrayed San Te’s development. It is difficult to show the passing of years in a film that is less than 2 hours long, but the way Gordon Liu showed how San Te changed made me feel that years had passed.

This is Gordon Liu as a student:

San Te as a student

I realize you can’t tell from the screenshot, but in the beginning of the film, San Te doesn’t seem like somebody who can kick ass.

This is San Te after he has graduated from the Shaolin training regimen.

San Te the monk talks to somebody after a fight.

Again, you can’t tell from the screenshot, but San Te moves with such stillness (oxymoron, I know) and stands with such poise that I really felt that he had matured a great deal.

The Chambers

This, of course, is the highlight of the movie. The various chambers are even more imaginative than the fights. As a viewer, I learned to look forward to each chamber, wondering what bizarre new training technique I would see next.

San Te stands between two incense sticks.

This is my favorite chamber. San Te has to learn how to move his eyes without moving his head.

The monk moves a candlestick back and forth.

San Te has to keep his eyes on the candles.

San Te's head between two incense sticks.

If San Te moves his head, he will get burned by one of those incense sticks.

Commentary on Contemporary Buddhism

One of the points made in the film is that it’s wrong for the Shaolin temple to hoard its martial arts techniques while the common people suffer outside under the cruel Manchu dynasty. I am no expert on Buddhism, but I know there have been various calls in the past century that Buddhism became too disconnected from the problems real people suffer, and people have tried to reform it to increase the involvement of laypeople and make more concrete efforts to improve the human condition.

The example of this I am most familiar with is the Tzu Chi Buddhist Foundation in Taiwan. It was founded by a Buddhist nun, Cheng Yen, after she saw a poor woman die in childbirth. It is the largest charitable organization in Taiwan, and in addition to providing quality medical care in areas of Taiwan where medical care is otherwise difficult to get, they run recycling centers, provide relief for disasters, and run at least one organic tea plantation which is open to the public (I’ve visited that tea plantation—the views are beautiful).

I don’t know if the filmmakers were consciously putting this message into the film, but I can’t help but think that it is a reflection of modern attitudes towards the religion.

Something Else I Want to Mention

Dropping a lot of flour upon horse riders is cool.

The flour starts to fall from the gate onto the horse riders.

The flour hits the horse riders.

The horse riders are completely covered with flour.

That is all.

Availability in English

It is really easy to get a DVD with English subtitles. This movie is probably better known in the English-speaking world than anything else I have discussed in this column so far. And that observation leads me to my conclusion.

Conclusion

Chinese-language martial arts movies are far more available in English than the novels, TV shows, or manhua. For most people in the English-speaking world, almost all of what they know about Chinese-language martial arts fiction comes from these movies (this, by the way, also applied to me before I started studying Chinese).

Basing one’s knowledge of Chinese martial arts fiction solely on these movies would be like basing one’s knowledge of English-language science fiction solely on blockbuster Hollywood sci-fi movies. Sure, movies such as The Matrix, The Terminator, Forbidden Planet, and so forth certainly represent some of English-language science fiction. But individual 2-hour movies cannot support long, complex plots, nor can they employ the literary devices available to novelists. Even the Star Trek movies don’t demonstrate what makes the Star Trek TV series so outstanding. And blockbuster Hollywood sci-fi movies certainly don’t give viewers a sense of what novels like 1984, The Dispossessed, Dawn, or Diaspora or the short stories of James Tiptree Jr. offer.

This, of course, is not the movies’ fault. But in this column, I certainly hope to poke a hole through the language barrier so English-speakers can peek at just how broad Chinese-language martial arts fiction is.

As for this movie, I actually liked it even more after I saw it for the second time. This is a very good sign. Recommended.

Next time: The Celestial Zone (manhua)


Sara K. thinks it’s a pity that there is no kung-fu musical staring Gene Kelly and Gordon Liu. At least the dream sequence in The Pirate offers viewers a clue what a Gene Kelly kung-fu movie would be like.

Filed Under: It Came From the Sinosphere Tagged With: 36th chamber of shaolin, gordon liu, kung fu, ni kuang, shaw brothers

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