Pi li shi jie

This is the second film where Lui Chia Hui plays San Te. He, however, is not the focus of the film. Fong Sai Yuk, played by Hsiou Hou, is the main character and occupies most of the screen time. Fong Sai Yuk is portrayed as a brash, young super fighter who can't stop getting into fights. He's a bragging, annoying character whose sole redeeming quality is that he can back up his boasts.

One of the last Shaw films before they shut down the studio, the film is set bound and looks like it could have been done ten years earlier. The plot is just decent with a back story that is slightly unexplained. The actors all do a good job. The music is very canned. The highlight is the fighting and there's plenty of it. A moderate amount of wire-fu doesn't detract from some excellent choreography. Liu Chia Liang really got into mass fight scenes towards the end of his time at the Shaw Bros. The final scene at the governor's palace is a small masterpiece of mass fighting.

A good kung fu film.

I remember the episode of a podcast I listened to about the fight between DC and Marvel and how during the 70s DC tried to copy Marvel's formula but just seemed to fail, since they just didn't understand what made Marvel's heroes so special. Well, there could be another episode about Shaw Brothers and Golden Harvest, because without knowing too much about Shaw Brother's history, this film makes it quite obvious why they were out of touch while Golden Harvest just continued to deliver hit after hit.

The biggest problem with this film is the main character Fong Sai-Yuk/Fang Shih Yu (Yes, that Fong Sai-Yuk) - to put it simply, he's an idiot, he's really stupid, it's not even fun how stupid he is. He always wants to pick a fight with the Manchus, even if it could cause problem for his own people, he's the oldest in his class (the actor was 27 when this film came out.) and is probably supposed to be in his older teenage years, while the rest of the kids around him is 7-9 years old. He has to use both hands to write letters and also spin the paper around that he's writing on to finish the letters (and I don't think it got to do with the straps that kept him tied up from fighting). The only thing we know for sure is that he's amazing at fighting and there's never anytime you're worried for him, because he's really overpowered, even when it's him against 20-30 enemies, he just laughs it away like it's nothing.

It's really sad, because the fight scenes in this film (and there are many) are really great ones, amazingly choreographed and a nice flow to them. Gordon Liu as the Monk isn't in this film enough, because he's the character that saves this film (or at least tries to) because at the end of the film I just wanted the film to end, because this version of Fong Sai-Yuk was just the worst, no redeeming qualities whatsoever. While Jackie Chan in Drunken Master, Young Master or Dragon Lord starts off as a rascal, those films guides us through as he learns his mistakes and becomes a better person and finally able to defeat the big bad. In this film, Fong Sai-Yuk was just a bully all the way through, he didn't learn anything and the way he defeated the big bad in the end is just awful and cringeworthy.

I really don't want to watch this film ever again.

Disciples of the 36th Chamber is the third in a trilogy of Shaolin temple films and one of the last ever movies from the acclaimed Shaw Brothers studio. The film marks a notable move away from the blood-drenched, vengeance-fuelled Shaw classics like those directed by Chang Cheh and it's also the tamest Shaw film I've seen Gordon Liu appear in. Instead, this is a light-hearted romp, focusing on hijinks and character-building throughout. It's also a film surprisingly tame, both in the plotting and in the action sequences. I was watching this waiting for a nice fight scene to play out and I was kept waiting right up until the admittedly impressive climax.

The usual Shaw Brothers staples are present here, with no noticeable decline in quality: sumptuous sets, colourful costumes and a great supporting cast of notable faces like Lily Li and Chan Shen. My favourite character is Gordon Liu's noble monk: Liu is a real scene stealer in this film and bags the best character, too. It's also fun to see director Liu Chia-Liang in a small role as a Manchu villain. Jason Pai Piao bags the role of the chief villain and fills it with effortless ease.

Hsiao Hou is something of a disappointment. He's playing the same legendary character, Fong Sai-Yuk, that Jet Li went on to play time and again in the 1990s, but I didn't find myself warming to his portrayal as I did Li's. Sure, Hou is exceptional in the athletic fighting scenes, but I was expecting that seeing as how Shaw always got the best from their actors. I just kept waiting for Gordon Liu to appear back on screen. The plot I found overly predictable and repetitive and aside from the lavish climax, the action scenes just didn't deliver as much as in the past, although the climax at the spectacle helps to make up for earlier disappoints.

This is the story of Fong Sai Yuk. I guess some of you will come to think of Jet Li now which is right, this movie is about the same guy as Jet Li plays but with one major different thing. It isn't Jet Li that plays Fong Sai Yuk its the fantastic actor Hou Hsiao which I must say kick Jet Li's butt in most areas. Hou Hsiao would probably win the vote for "best underrated martial artist of all time". You have to see this guy move to believe it! Amazing!

This movie has everything a good martial arts movie shall have. Exciting fights, good acting and its fun moments as well.

I guess this film is one of the best Shaw brothers movies I've seen in my life. And as even Gordon Liu is in this movie, its almost written success all over the title. And now when its digitally restored on DVD (Deltamac or IVL release) it is just even better.

Fong Sai Yuk is the utterly incorrigible young troublemaker who is nearly invincible due to his martial arts abilities. His parents and teachers can't discipline him, and he continually gets into trouble; until one day he messes with the wrong people, and the local rulers decree that he be decapitated. Devastated, his parents secretly send him and his brothers to the 36th Chamber of Shaolin Temple to avoid the beheading, and his mother selflessly agrees to face the consequences of her son's actions.

Once in Shaolin Temple, monk San Te works (played but Gordon Liu) to exhaust the young boy into submission. However, Sai Yuk handles his training regimen easily, and has plenty of energy to spare for his various dirty deeds. Sai Yuk gathers his fellow students in attempts to sneak out of the temple. On his night out, he visits the governor's estate to witness the lantern festival, where he gets into more trouble and earns the wrath of the governor himself. It's not long before the governor begins to plan an elaborate plot to bring down Sai Yuk and all of Shaolin's students with him!

On paper, the premise for Disciples of the 36th Chamber probably sounded promising, sadly this is a disappointing finale to the 36th Chamber trilogy. There's little of the inventiveness and vitality that figured so heavily in the previous films, instead, we're given a sub-standard kung-fu revenge plot tinged with the occasional comedic beats. It feels like a product of yesteryear, marking the passing of the torch when it comes to populist Hong Kong action cinema. One that relegates Gordon Liu to a mere supporting role and focuses on the most annoying Fong Sai-Yuk in the history of Hong Kong cinema as played by Hsiao Ho. That being said, Lau Kar-Leung's direction remains particularly strong but it's his script where the film falls apart, with a few tweaks here and there, it could have been a winner. The usual production values that so epitomise a Shaw Brothers production are all here but ultimately it's at the expense of awfully sluggish pacing, this is the shortest film of the trilogy and yet it feels the longest to the point at which I felt I was zoning out. Sadly, there's not a lot to distinguish Disciples of the 36th Chamber as its own unique experience. It feels tired and stagnant, even with all its traditional Shaw Brothers style, signifying a changing tide for audiences.