Within the career of renowned Hong Kong director Tsui Hark, 1983 was quite an exciting and busy year with all in all five projects which he worked on, two of which he directed. One of those films he eventually helmed as director was an adaptation of a popular xianxia novel titled “Legend of the Swordsmen of the Mountains of Shu” written by Huanzhulouzhu, whose works served as the foundation of many TV series and movies over the years. In the hands of Hark and his team the film, which was consequently titled “Zu Warriors of the Magic Mountain”, became a blend of wuxia and fantasy, while its use of effects and genre-bending nature was significant for filmmakers in finding an international audience.

Buy This Title

While the country is at war with several factions fighting one another, soldier Dik Ming kei (Yuen Biao) deserts from his unit after his own commander’s forces tried to kill him for delivering a bad message about a development in a recent battle. After a brief run-in with an enemy soldier (played by Sammo Hung), who also decided to break free from his unit, he makes his way to the mountain of Zu where he is attacked by vampires. As he is about to give in to his attackers, he is rescued by Master Ding Yan (Adam Cheng), whom he follows, hoping to learn his impressive sills in martial arts and magic, but also to find a key to end the chaos of war.

However, his plans are suspended when the two of them meet Hsiao Yu (Damian Lau) and his pupil Yat Jan (Mang Hoi) who are after the powerful Blood Devil, a creature able to put the mortal and the fantasy realm in great peril if unleashed completely. With the help of a mighty magician, the four of them are able to contain the demon for now, but to fully destroy it, they must find the Dual Swords.

In many ways, films such as “Zu Warriors from the Magic Mountain” can be regarded as the basis for the rise of Hong Kong cinema in the 90s, as well as the increasing popularity of the wuxia genre far beyond the borders of Asia. Even though its story is deeply embedded within Chinese culture, mythology and tradition, its core themes about the chaos of war and how it inhibits people from uniting in order to battle the real enemy are universal. Perhaps the most interesting feature is how the film’s script mirrors the war in the mortal world, the inability to work together within the realm of fantasy and magic. Indeed, with all their wisdom, power and talent, even the most skilled warrior and scholar finds himself unable to cooperate with someone else, resulting in the almost obligatory scenes of slapstick comedy highlighting the foolishness of this attitude and the character who behave this way.

At the same time, Hark’s film manages to combine these thematic aspects within the action scenes. Even by today’s standards, the majority of the action, the fight choreography and the wire work is still quite impressive, although the addition of magic is at times a bit awkward and at odds with the overall pacing of a fight. Nevertheless, the idea of uniting and cooperating in order to battle a common, more powerful enemy is expressed quite well, which is also thanks to the performances of the cast. Hark is truly at his best in these sequences while in contrast, the long-winded monologues of certain characters, all of which address the aforementioned issues, feel rather heavy-handed and overly didactic even.

“Zu Warriors from the Magic Mountain” is a very entertaining wuxia film whose action scenes still manage to impress today as well as its use of effects. Built on a universal message regarding unity and cooperation, it is a true blockbuster from an early stage of modern Hong Kong cinema which has been given a brand new restoration by Eureka that will further highlight the impressive skill at work, especially behind the camera.