Raw Courage (Hu dan, 1969)

Lo Wei

Hong Kong

108 min, color, Mandarin (English subtitles)

Review © 2005 Branislav L. Slantchev

Before Chu Yuan and Chang Cheh created the classical wuxia genre that we all so admire, Lo Wei was churning these precursor films by the numbers. On the plus side, a lot of them star Cheng Pei-pei in her defining role as an intense swordsgirl. On the minus side is everything else: subpar choreography, dull plotting, pedestrian directing, and generally nothing to get over-excited about.

Fact or fiction? Emperor Jianwen's baby	Torn between patriotic duty and filial piety

This film is no exception. All the traits that better directors would later put to excellent use are already evident. First, and most obviously, the lavish production values. This is a big-budget film, there's no doubt about it. From the intricate sets (various locations, even a city) to the sheer number of extras (at one point an entire army storms the walls of a castle), this is no quickie. Second, the implausible storyline involving a real emperor (Jianwen) and a totally fake story surrounding his death. Third, the endless fight sequences that pit a handful of main characters against hordes of incompetent cutlery-wielding no-names. One may be forgiven for confusing the storylines here and there.

Obligatory gratuitous shot of Cheng Pei-pei	Haute Cuisine

The basic idea is a perilous journey through hostile territory, something of a classic for the genre. This time, the emperor's baby son needs to be smuggled to safety as various unsavory characters are in hot pursuit of our noble heroes. Lo Wei stars as Shangguan Hou, the guy charged with the all-important ahistorical mission. Unfortunately, he quickly runs afoul of a trio of political careerists of questionable morals who seek advancement of their positions in the new court through delivering the baby's head. In a strangely concocted ambush, Shangguan is mortally wounded by a poisoned dart, and his duty naturally devolves to his daughter Xiuyi (Cheng Pei-pei) and the noble, potentially loving, knight Jin (Wu Fung).

Suggestive tete-a-tete	Children against violence

As soon as they escape through a hidden passage, the baby cries in the dark betraying their location to a night patrol. This is the first of many identical situations where the normally silent baby would pick the worst moment to cry. Fortunately, the two rather amateurish swordspeople are rescued by a beggar with amazing martial arts skills (Yang Chi-ching). He directs them to seek Zhou (Yueh Hua) who would guide them to the safety of the White Dragon Society.

The gazillionth screw-up by the baby	Cheng Pei-pei in rare maternal scene

The rest of the film is barely memorable. During a hilarious first encounter with Zhou (whom they do not recognize), our two noble heroes milk his goat, eat his food, and steal his clothes, only to nearly screw up their entire plan not once, not twice, but three times: first, the baby cries just as they are clearing the city-gate inspection (saved by a timely commotion created by the inventive Zhou); second, they ignore the out-of-tune but helpful advice of the singing little beggar (Li Kun) and walk straight into another ambush (saved by said beggar); third, they are nearly betrayed yet again by that bastard baby as they are passing a road check-point (saved by the two thousand guards inexplicably abandoning the chase on account of the martial prowess of our two guys and a girl with a baby).

Raging hormones (and no milk)	That's right: there IS a baby on her back

This last episode actually illustrates the sloppy directing quite well. Zhou and Jin, disguised as pal-bearers, attempt to smuggle Ziuyi and the little brat in a coffin. When the baby naturally blows their cover, they open the lid and Xiuyi springs into action alongside the two men. The only problem, of course, is that she was lying in the small coffin on her back, that is, on top of the baby, which apparently has no problems with claustrophobia... or getting squished to death for that matter. Similar problems abound (e.g. the episode where the milk bag is punctured for no apparent reason), and so on.

Abrupt seasonal changes	Do not adjust your set's color controls

On the positive side of all this are the numerous on-location shots, a rarity for Shaw films actually. Still, I don't have anything against well-done sets, and the winter scene in the mountains is an excellent example of the latter. For some reason I find snowy winter evenings incredibly romantic, even if they involve a hut crammed full of dead naked bodies, as happens to be the case here. Anyway, after two more betrayals (don't our heroes ever learn?), everything is set for the final epic confrontation between the good and the bad, this time accompanied by a blue-faced old man who likes young chicks and wields a mean staff (Lee Sau Kei). Nothing exception here save for the timeless line delivered by the old beggar: "Kill them all, kids!"

Swan Lake	It's a guy thing

Despite the abysmal fighting choreography and unimaginative story, the film is fun to watch, mostly for the intensity of Cheng Pei-pei, and the rare opportunity to watch Yueh Hua acting goofy. I did not much care for the other lead (Wu Fung) who could not decide whether he was jealous of the budding romance between Xiuyi and Zhou, or just envious of the much more accomplished Zhou. Since neither Yang Chi-ching nor Lee Sau Kei can actually fight, their martial art scenes were filmed with doubles, and unfortunately it shows. I am quite used to this by now, but I still prefer it not to be so obvious (e.g. keeping head low so face isn't visible, shots mostly from a distance or from behind). It will be a while before Sammo Hung can show us how well one can make actors fake fighting if one knows what he's doing.

Surprised by their own incompetence	Kids, kill them all

Overall, a mildly entertaining wuxia fare that would be of marginal interest to anyone except hopeless consumers of the genre or rabid fans of Cheng Pei-pei (I fall squarely in the second category and somewhat marginally in the first one). Lo Wei, although not a hack, is far from the gusto of Chang Cheh or the dreamy fantasies of Chu Yuan. The undeniable chemistry between Cheng Pei-pei and Yueh Hua carries most of the film, as does the perennially entertaining counting of slaughtered extras.

Your fly's open!	Let me get this straight: pinned to a STONE?

The presentation on the Celestial DVD is marginal as well. Only the mono Mandarin soundtrack is included, and the film is softer (with duller colors) than what I have come to expect from their releases. Perhaps it's just the age of the source material, I am not sure. The English subtitles are fine, and the extras are limited to the usual photo gallery, talent files, and trailers. Nothing to write home about, but then again, since this is a Cheng Pei-pei film, I expect it to be in your collection. Consider yourself ordered to own it.

January 27, 2005