“I never imagined that the righteous would not only refuse to unite, but also be incapable of action” laments a reluctant soldier realising there are no heroes coming to the rescue in Tsui Hark’s SFX-laden fantasy wuxia, Zu: Warriors from the Magic Mountain (新蜀山劍俠). Inspired by the work of Huanzhulouzhu (Li Shoumin), Tsui’s feudal fable marked a departure from the more “realistic” swordplay movies which were popular at the time harking back to an earlier era of fantastic adventures which drew inspiration from traditional Chinese folklore. It was also, however, an attempt to prove that Hong Kong could rival Hollywood in the post-Star Wars world, blending what might now be viewed as fairly camp but then cutting-edge special effects with classic wuxia action.
Accordingly, after a brief voice over, Tsui opens with a world in chaos in which several factions are currently vying for hegemony over the hotly contested, mystical and mountainous terrain of Shu. Lowly retainer Ti Ming-Chi (Yuen Biao) has been tasked with delivering a message regarding troop movements to his superiors, but there is a difference of opinion in the chain of command as to whether to attack by land or sea. Placed in an impossible position, Ming-Chi eventually sees himself pledge to obey both captains, only for infighting to emerge within the group forcing him to flee for his life which is how he encounters “Fatty” (Sammo Hung Kam-Bo), a soldier from a rival faction and discovers, quite ironically, that they are from neighbouring villages which makes their rivalry all the more ridiculous. In the course of his attempt to escape, Ming-Chi falls into a mountain crevasse and finds himself entering a mysterious cave which takes him to another world in which he becomes similarly embroiled in a war against the evil Demon Cult which apparently practices child sacrifice and then uses the bones as a kind of magical armour.
A reluctant soldier, Ming-Chi finds himself captivated by the “Great Hero” Ting Yin (Adam Cheng Siu-Chow) and determines to become his disciple while the pair form an uneasy alliance with a pair of similarly matched Buddhist monks, master Hsiao Yu (Damian Lau Chung-Yan) and his assistant I-Chen (Mang Hoi), also hot on the trail of the Demon Cult. Finding this world also confusing, he is nevertheless reassured by I-Chen’s simple explanation “they’re bad, we’re good” as the two masters face off against the Demon Lord, but comes to discover it’s not quite all as black and white as it seems and this world too is torn apart by chaos and disorder because “the hearts of men are so corrupt.” Ming-Chi begs Ting Yin to use his “peerless martial arts skills” to “save mankind”, but Ting Yin cynically tells him his best course of action is to retreat into the mountains and avoid human society because “neither you nor I have the ability to bring about change”.
Yet Ming-Chi remains pure of heart, certain that “as long as everyone puts in the effort, peace can be restored under heaven”. “Teach me martial arts and once I’ve mastered it, I can fight oppression, help the weak, and save the masses” he pleads, but Ting Yin once again refuses him. In fact, in one of the later SFX sequences, Ting Yin will “transfer” his martial arts knowledge near instantly via a laying on of hands assisted by some elaborate prosthetics which see Ming-Chi’s body warp and bubble to accept it. Nevertheless, the lesson that Ming-Chi begins to learn, bonding with fellow assistant I-Chen who ignored his master’s petty parting words to bid him goodbye to hope they meet again along the way, is that the masters care only for themselves and are no better than the warring nobles from his own lands, obsessed with their rival sects and ideologies. If they want to save the world they’ll have to save themselves through mutual solidarity in pursuit of their goal, tracking down a pair of mystical swords which are the only way to end the demonic threat for good.
There might of course be an added dimension to this allegory in the Hong Kong of 1983 which is perhaps also beginning to feel like disputed territory coveted by duplicitous elites who fight amongst themselves while ordinary people suffer, but Tsui is in any case more interested in zany action and excuses to employ zeitgeisty special effects making full use of the technology of the day from lasers to animation along with in-camera stunts to recreate his epic fantasy world in which old men can keep evil at bay for as long as 49 days using nothing but their powerfully hairy eyebrows and a fancy mirror. With small roles for Brigitte Lin and Moon Lee as an ice queen with a warm heart presiding over an all female palace and her spiky guard respectively, Tsui’s bonkers fairytale moves on at a glorious, confusing pace but is nevertheless filled with warmth and humanity as the goodhearted heroes attempt to head off the folly of war with human solidarity.
Zu: Warriors from the Magic Mountain streams in the UK 9th to 15th February as part of Focus Hong Kong
Eureka release trailer (english subtitles)
Where oh where are the put upon citizens of martial arts movies supposed to grab a quiet cup of tea and some dim sum? Definitely not at Boss Cheng’s teahouse as all hell is about to break loose in there when it becomes the centre of a turf war in gloomy director Kuei Chih-Hung’s social minded modern day kung-fu movie The Teahouse (成記茶樓, Cheng Ji Cha Lou).
Windows on Worlds 