Don Wang Tao is a Ming general who has pledged to destroy Manchurian invaders (piece by piece, if necessary) in THE DEATH DUEL OF KUNG FU.
After surviving numerous attacks by both Manchu killers and trai­ tors among his own forces, Hsiang finds assistance in the form of a beautiful, elaborately- tattooed Japanese thief. The one variable in the equation is Sun San (John Liu Chong-liang), an equally masterful fighter from the North, who doggedly pursues Hsiang. Though his motives are mysterious, Sun does not seem to be in league with the Ching... Those who like wall-to-wall fight­ ing will be in seventh heaven here, while others will be amused by how battles constantly break out with little or no impetus. Re­ gardless, there is some impres­ sive technique (with fine legwork from Liu, a student of super kicker Tan Tao-liang) and the scenery is a refreshing change from the locations one usually sees in independent productions. Chung Fat plays one of the Ching swordsmen. Whites sometimes
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bloom in the 1980 transfer, but the slightly squeezed image is colorful and blacks are deep. Cropping is generally not a ma­
jor distraction and the sound is harsh but coherent. On-screen title: DEATH DUEL OF KÜNG FU. Another of the enjoyable
kung fu farces crafted by The Lau Brothers during the late ’70s/ early ’80s, DIRTY KUNG FU stars Wong Yue as Pei Dou-chai (aka “The Rubberball Kid”), a rascally youth who acts as a middle man for bounty hunters by leading them to their quarry. Unfortu­ nately, his colleagues are less than honest while dividing the rewards and the local police cap­ tain (Karl Maka) has it in for Pei. When things finally start look­ ing up, Pei decides to go after ferocious bandit Hu Lang (Wil­ son Tong Wai-shing), but his usual partners (including the film’s director, Lau Kar-wing, and Norman Tsui Siu-keung) are
no match for Hu, who can boost his martial prowess by entreat­ ing assistance from various gods. Developing a bit of backbone, Pei resolves to defeat Hu himself and, as no established kung fu technique seems to work, he must improvise a new one. By studying the movements of eels, he defines a fighting style that allows him to slither out of any hold, as well as a way to circumvent Hu’s heavenly aid: soiled female underwear— when placed on the head of your opponent, it prevents any God from entering into their body! The storyline is heavily padded to reach feature length and the resolution of the climac­ tic bout is disappointing. Regard­ less, there is still much to enjoy here, and the martial arts are up to the Laus’ usual standards. While not very believable as a viable attack style, Wong’s “eel fist” may be the most amusing
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