Diretor: Yuen Woo-ping

Producer: Raymond Chow

Cast: Yuen Yat Chor, Leung Kar Yan, Yuen Cheung Yan, Brandy Yuen Jan Yeung, Eddie Ko Hung, Yuen Shun Yee, Yuen Woo Ping, Tino Wong Cheung, Huang Ha, Chan Tien Lung, Simon Yuen Siu Tien, Lam Moon-Wa

Running Time: 95 min.

By Matthew Le-feuvre

Following the runaway successes of both Snake in the Eagle’s Shadow (1977) and its semi-sequel The Drunken Master (1978), it has always been fervently rumoured that ace choreographer, producer and filmmaker, Yuen Woo-ping ‘expected’ or at least was anticipating another collaboration with rising phenomenon, Jackie Chan, before he abdicated to Golden Harvest. However, having also dramatically laboured as a stuntman at the prolific Shaw Brothers studio, to a much sought after fight arranger and director, Ping was already more than aware how (A): the machinations of the film industry truly functioned, (B): how limiting ‘original’ concepts can be and (C): that the commercial life expectancy would constantly attract imitators and opportunists.

Whilst Chan was macheting his route towards creative autonomy, as well as circumventing an alleged ‘death contract’ issued by his former employer (Lo Wei), Ping, too, desperately tried to reinvent his winning formula by casting his young brother, Yuen Hsin Yee for the critically under-rated Dance of the Drunken Mantis (1979) – an official continuance of ‘Sam the Seed’ mythos. By then, the market had been tsunamied with a whole barrage of “fight, train, fight” pseudo-Chan clones: from Billy Chong (The Crystal Fist) to Jack Long/Li Lin Min (Mystery of Chess Boxing/World of the Drunken Master), to John Chang (Snake in the Monkey’s Shadow). Ultimately, Chan’s broad masochistic appeal was far too strong for Yee to be embraced by audiences, and his career was sadly reduced to playing mentally deranged psychopaths, occult deviants or co-choreographing in association with his equally dynamic siblings: Yuen Chung Yan, Yuen Yat Chor and Brandy Yuen Chun Wei.

As for Ping, an open invitation from Golden Harvest president, Raymond Chow, saw him devise the most potent, innovative and complex kung fu patterns for the otherwise “lacklustre” Game of Death (1978) cash-in: Tower of Death (1981). Again it featured the late Tang Lung (aka Kim Tai Cheung) in dual roles, while the ‘Pagoda’ itself, like Bruce lee, remains absent from sight by reversing the idea of an external backdrop to a subterranean one, poignantly curtailing production costs! Yet according to pre-production sources, the original premise for Game of Death 2 – as it later became internationally known, was to have been faithfully constructed around further alleged missing or unused Bruce Lee/Game footage; notably the incomplete ‘new territories’ promotional fight material. It never happened! Failing that, abridged sequences from Enter the Dragon (1973) were alternatively inserted showcasing Lee’s philosophical exchange with Roy Chiao, as well as an extended arrival scene at Han’s Island where Lee’s character bemusingly surveys his guest quarters. Despite Ping’s obvious genius, the result; although oddly muddled, was more or less an exercise in capitalistic ineptitude rather than inspirational perpetuity.

Before long, Ping was energetically helming ‘Wong Fei Hung’ revival pictures: The Magnificent Butcher (1979) and Dreadnaught (1981). It had been five years since its original leading actor, Kwan Tak Hing returned to the role for The Skyhawk (1974), however these two entries, prior to Jet Li/ Chin Man Chuek 90’s portrayals, were designedly more focused on Wong Fei Hung’s foremost pupils: Lam Sai Wing (Sammo Hung Kim Po) and Leung Foon (Liu Chia Ren aka Leung Kar Yan), respectively. Yet, obstensibly, it was through Hung Kim Po’s influencial reinvention of the Horror/fantasy genre – specifically the ground breaking Encounters of the Spooky Kind (1981) – that Ping became inspired too make The Miracle Fighters, even though they’d been conceptually preceded by Ho Meng Hua (Black Magic) and Liu Chia Liang (The Spiritual Boxer), it was nonetheless still an arena worth exploring and the possibilities were high if presented at the right juncture.

Despite a capricious audience demograph, significantly or not – and this may depend upon personal observation – Hong Kong cinema has always retained a long traditional relationship with the ‘arcane’, the ‘supernatural’ and/or ‘occult’ symbolism. Indeed, compared to the Western hemisphere, it is a vibrant, exotic culture which is both inherently ‘superstitious’ and ‘spiritual’ by nature, therefore it is only proper that these intrinsic values, beliefs and/or rituals should be poetically evident in their iconography, art, literature and of course motion pictures. This may appear like an overt contradiction, one of myriad proportions. Nevertheless, it is a model reflection of Yin/Yang philosophy, something Ping was constantly keen too exploit. And The Miracle Fighters does just that!

Hailed as one of the “weirdest” kung fu/fantasy movies to be distributed under the Golden Harvest banner – and certainly shouldn’t be confused or compared with Tsui Hark’s seminal masterpiece Zu Warriors from the Magic Mountain (also 1982) – The Miracle Fighters is an octane fueled tale of despotism, ego-based ambition and insanely cerebral magical practices. Again using Yin/Yang metaphors, Ping’s physical depictions of Chinese occultism is clearly defined by both ‘light’ and ‘dark’ forces, regardless of its signature trappings or banal dialogue. Its true magical sturdiness lies in the picture’s motion and fluidity, not in the screenplay which, at intervals, is incoherently orthodox of the times: a machiavellian sorcerer who thirsts for dominance over the occult world, a disgraced general of the sovereignty, two bickering Taoists and an obligatory apprentice who must successfully learn the mystical arts of oriental transcendentalism, conjurations to fending off hexes; including a grotesque minion known as a “jar clown” – a pathetic, child-like entity that resembles a Human tortoise, but possessing agile reflexes.

From the outset, this film was a very personal project, and is perhaps one of Yuen Woo-ping’s lesser celebrated forays. Nevertheless, in spite of its apparent unavailability (unless one is willing to invest a large sum of coinage via online DVD specialists), The Miracle Fighters was actually nominated for ‘Best Action Choreography’ at the Hong Kong film awards, which is hardly surprising! But is it worth all the expectant hype? Well, yes! And no!

The Essential Guide to Hong Kong Movies by Eastern Heroes founder, Rick Baker and documentarian, Toby Russell, goes to great lengths in promoting a constructive, if liberal five star rating. And while it was a top-grossing sensation that proceeded to father numerous sequels, plus the strength of an extraordinary cast list featuring an almost unrecognizable Leung Kar Yan, the generally overlooked Eddie Ko and the essential “Yuen” brothers in their respective designated parts: the antagonist, the protagonist, the wise eccentric and the mischievous foil – for some viewers, this may feel like a disjointed journey into absurdity where political oppression inadvertently collides with Taoist arcana.

For most, seasoned by years of devotion and awe, The Miracle Fighters does champion the cosmic balance of the Yin/Yang principle, neither accepting nor rejecting the picture’s elaborate construct or pedestrian shortcomings. But like all of Yuen Woo-ping’s earlier endeavours, the narrative, character development and/or production values were typically starved of attention. Instead, total reliance and confidence is placed upon visual surrealism, rapid-styled editing as well as highly gifted fight/action tacticians.

Matthew Le-feuvre’s Rating: 8/10