The Buddhist Fist (1980)

Yuen Woo Ping once again demonstrates why he is the master

During the heyday of Hong Kong cinema Hong Kong released countless traditional kung fu films especially after the success of Jackie Chan’s Snake in the Eagle Shadow and Drunken Master. It is safe to say that many martial arts fans have seen these films as well as seeing the other better-known titles such as Prodigal Son, Warriors Two, Knockabout and countless others. Sometimes there are those that fall under the radar, unless you are a die-hard fan you will more than likely not heard of these gems. Buddhist Fist is such a film, rarely is it mentioned in the same light as the fore mentioned films but just as much deserving acclaim. Directed and choreographed by none other than Yuen Woo Ping with Tsui Siu Ming serving as co-director and one of the lead actors along with Woo Ping’s brother, Yuen Shun Yi. It’s one of the few opportunities to see Sui Ming in front of the camera and here he and Shun Yi are a joy to behold.

Young Ah Hsiang and young monk Siu Ming become childhood friends as a stolen potato by Sui Ming leads to the two fending of a bunch of kids. Ah Hsiang joins Siu Ming in studying kung fu. Fast forward some years and both adult Ah Hsiang (Yuen Shun Yi) and Sui Ming (Tsui Siu Ming) have become proficient in martial arts. With the blessing of his godfather (Cheung Hei) Ah Hsiang departs to the big city to earn money as a barber. Due to some misunderstanding and careless behaviour Ah Hsiang and his buddy Yu (Chan Lung) gets fired from their jobs resulting in his return back to his town. Meanwhile back at his hometown a mystery mastermind, who is after a priceless jade statute at the temple, is setting up a monk (no surprise who this is) with frolicking and the murder of a prostitute, with the plan to blackmail him into doing his bidding. Ah Hsiang returns to find that his godfather has gone missing and sets about in locating his whereabouts. His search leads him to an old friend working at an incense store owned by Mr Chen (Lee Hoi San) without any information he continues his search around town, which draws various assassination attempts. Eventually locating his godfather he finds out that it was his witnessing of the assailants attempts to steal the statute that lead to his predicament. The mastermind is unveiled and the audience is treated an epic showdown of great martial artists duking it out.

Yuen Woo Ping is a very competent action choreographer his films is widely recognised as some of the best in martial arts cinema but there are times where his films fall short of expectations such as The Miracle Fighters or Snuff Bottle Connection. Buddhist Fist is definitely one of his better films from his vast library of films, the kung fu on display here is phenomenal, with intricate choreography and complex movements. It is helped by Yuen Shun Yi who is in fine form and is capable of delivering some very complicated moves and shows off how nimble he is. It is such a shame that Shun Yi never got the recognition he deserves as he is on par with the likes of Jackie Chan and Yuen Biao. The surprise is Tsui Siu Ming (better known for being behind the camera as action coordinator) makes a rare on screen appearance, his movements and techniques are very crisp and clean, making it a shame that he did not subsequently star in more kung fu films. The film consists of many fights and each one progresses in imagination, Shun Yi shoulders much of the reasonability as the main protagonist and gets to go toe to toe with some fine stunt actors in the industry. Each situation presents a unique encounter; Shu Yi fights with a fortune-teller (Sung Gam Loi) with the aid of his sifu (Fan Mei Sheng), a confrontation with a hunchback (San Kuai), a weapons duel with Lee Hoi San and various exchanges with Tsui Siu Ming. Despite Hong Kong’s assorted mix of traditional kung fu films Buddhist Fist still feels refreshing to watch and that falls down to the creative choreography.

Yuen Shun Yi is a fine actor whether he is the villain or the lead he portrays each one convincingly, here he shows general likability. Tsui Siu Ming again deserves credit for his performance as the monk; possessing vulnerability and innocence. Chan Lung makes a welcome friend but a shame that he does not show off his martial arts skills. Also making welcome appearances are the other Yuen sibling’s Brandy Yuen Jan Yeung, Yuen Yat Choh and Yuen Cheung Yan as well as father, Simon Yuen Siu Tin.

Those seeking a coherent story will be disappointed as it meanders all over the place with weird and often pointless characters introduced throughout. Also a Yuen Woo Ping staple is wacky humour and it is a regular occurrence during this film though at times it can be at odds with some of the more serious or violent moments. Credit has to be given to Yuen and Tsui (who also serve as writer) in attempting a different storyline from the traditional revenge, learn new kung fu and avenge storyline, but sadly it’s not that engaging. Fortunately there is enough fight scenes to saturate the weak story line.

A big problem that I encountered with the film is that there are moments where the film is shot in darker environments or night-time and during these moments it is particularly hard to see what’s going on, though these scenarios are few and far between.

For kung fu fans this is major gem. It is the Yuen clan at their best with some of the most creative and intricate choreography. With fine martial arts performances from all on board with special mention going to Tsui Siu Ming. I strongly recommend those who love their traditional kung fu films to seek this out.

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