WORLD VIEW

While I have been enjoying a 36-episode mainland-produced Chinese TV-series about Sun Tzu and Sun Bin (The Art of War and the 36 Stratagems), I've taken a break now and then from the slow-paced drama, (by Korean drama standards), a little didactic at turns, even though the characters are interesting and attractive, and the Mandarin is slow and simple enough to make me think I can speak and understand it. I bought this set of DVDs in Hong Kong a couple years ago thinking it was an academic PBS kind of exposition about the Art of War, but I was wrong. It's a TV play. It has a quality that makes me think of peasants sharing a TV in a village and enjoying a cultural rendition of their heritage from 2,000 years in the past.

I was poking around on the Wizard's shelf of Teaching Company CDs which include pretty much the entire history of Western Civilization back to Mesopotamia and wondered why he never wanted to listen to my set of "From Yao to Mao," the only real Asian history course available from the company.

"I'm interested in where I came from," he said. Which leads me to wonder if I was Chinese in another life.

The entertainment breaks I take from Sunzi Bingfa are kung -fu movies. In a curious completion of a series, I watched Kung-Fu Master (called something else in Chinese) with Yuen Biao, an unintentional (?) third part of a trilogy by the intricately connected Three Guys (above right): Jackie Chan, Sammo Hung, and, Yuen Biao. Maybe not as holy as the three pure ones, but it might be fun to see them in a film as Fuk, Luk, and Sau, (below left) the Chinese Gods of Good Fortune.***

I kinda detested Jackie Chan's recent remake of Karate (Kung Fu) Kid, as much as I kinda liked his Wushu with Sammo Hung. Both had kind of the same theme, masters somewhat reluctantly bringing along young students.

But I wasn't quite sure what to make of Kung-Fu Master, with a more classical historical theme, which opened with some creepy scenes (kung fu with a coffin?) that blended an ambiance of King Hu's A Touch of Zen with surreal 1960s Avengers action. I rented the DVD from Blockbuster, watched about 15 minutes and returned it. But I added it to my Netflix queue, and gave it another shot.

The film is basically one long fight, with an incomprehensible plot. However, I understand it is an abridged version of a TV-series, which may explain why it was marketed as a film, for people who like to see the kung fu without caring why the action is taking place.

Yuen Biao, right, who is just wonderful, if like Jackie and Sammo, maybe just a bit long in the tooth, (like myself) works his way through a kind of test by an evil general who has some sort of grudge against the Shaolin Temple. Eventually, the Temple is destroyed and Yuen Biao, "Omitofo," and his band of brothers vanquish the evil forces and, since their temple has been demolished, one can only surmise they go on to perform shows on stages in Beijing, Los Angeles, Chicago and New York.

I was a little frustrated with an inexplicable reconciliation with one of the assassins who are out to get Yuen Biao, I think it was Nicholas Tse, and I eagerly waited for him to return to the action, but he never did. There was a scene, reminiscent of the guqin-accompanied imaginary duel between Jet Li and Donnie Yen in Hero, where the 7-stringed lute is used as a lethal weapon. And in a very Avengers surreal nightmare scene, Yuen Biao negotiates a HUGE tangled pile of Chinese benches. (I liked this, at left, a lot; it reminded me of when I broke the Taoist hermit's stool. And how I usually feel about housework. Not that I'm so skilled at it.)

My first impression was this was the worst kung fu film I'd ever seen, but the scenes are lingering in my mind, as hard to ignore as the strange mole on Yuen Biao's forehead, more noticeable than the burn scars on his scalp which identified him as a Shaolin monk.

With this still on my mind, I paid a visit to The Dragon Gate Bookstore where my video vendor read my thoughts and laid out for me copies of Tsui Hark's Detective Dee, and Donnie Yen's Legend of the Fist: Return of Chen Zhen.

I paused watching Detective Dee (which features Andy Lau as a character initially as raggedy as Vincent Zhao's drunken master in True Legend/Su Qi-Er...is this a trend?) to jot these thoughts down. Detective Dee, set in the Tang Dynasty during the coronation of the only female Son of Heaven of China, Empress Wu, opens with the frequent spontaneous human combustion ("self-burning") of some guys involved with constructing a REALLY HUGE Buddha in her honor, way bigger than Yuen Biao's pile of benches...this CGI Buddha makes Hong Kong's Big Buddha look like a lawn ornament. Andy Lau is retrieved from prison (and nicely cleaned up and shaved) to solve the case, where the Buddha is intended to literally topple the empire, and the most significant clue in which is highly poisonous "fire turtles," the seeming opposite of the medicinal ice toads, about which I have previously commented. I might note the fire turtles look remarkably like a delicacy I avoided in Xian a couple years ago.

I've recently watched a few Korean and Chinese dramas of a forensic detective nature (The Four, Damo), and I can only hope this will live up to those standards. Such as they are.

***And now I am getting a concept for a screen play about the Three Pure Ones; the number one of them, Yu Huang, the Jade Ruler or the Pearly Emperor, was said to have been so "super-eminently beautiful ...that none became weary when beholding him." So do I cast Vincent Zhao or Song Il-guk? Well, since there are three protagonists, I can throw in Tony Leung Chiu-wai and have a truly dazzling fantasy epic with all three, gods representing the entire Hong Kong, Mainland and Korean film industry.