Chang Cheh (traditional Chinese: 張徹; simplified Chinese: 张彻; pinyin: Zhāng Chè) (February 10, 1923 – June 22, 2002) was Shaw Brothers Studio’s best known and most prolific film director, with such films as the Five Venoms, the Brave Archer (based on the works of Jin Yong), the One-Armed Swordsman, and other classics of wuxia and Kung Fu film.
Referred to as “The Godfather of Hong Kong cinema”, Chang Cheh directed over 100 films in his illustrious career at Shaw Brothers, which ran the gamut from swordplay films (One-Armed Swordsman, The Assassin, Golden Swallow) to kung fu films (Five Shaolin Masters, Five Venoms, Kid with the Golden Arms) to more modern period dramas (Chinatown Kid, Boxer From Shantung, The Generation Gap) to lavish costume epics (The Water Margin, The Heroic Ones, Boxer Rebellion).
After graduating from National Central University ( (later renamed Nanjing University in Nanjing and reinstated in Taiwan) in Chongqing (Chungking), where he studied politics… read more
Transcendental romance in the form of a violent Eastern, emotion boils on screen in flowing blood the thin line between passion for self, another and the absolute. Golden Swallow is caught between two warrior personas of an ideal love. One, a conservative, introverted protector and the other, a wild, extroverted egomaniac, both of which are genuine sides to THE perfect overman. Chang effortlessly masters this spiritual duality between honorable, righteous living and fearless, apocalyptic death.
Hey, you got your Jimmy Wang Yu in my "Golden Swallow" movie! Actress Chang Pei-pei returns to the role that made her famous but, only two years after "Come Drink With Me," she seems to be playing a different character entirely; she's more of a lovestruck puppy than the fierce, independent warrior we knew and loved. The newly famous Wang Yu dominates this film in her place. Unfortunately, his nihilistic, sneering anti-hero wears out his welcome and comes across as more empty than cool. It's fair to say that Chang Cheh was one of the greatest action directors of all time but here it feels like he's still learning the ropes: the frequent use of handheld photography registers as sloppy rather than visceral. Instead of staying true to "Come Drink With Me," this film tries to ride the "One-Armed Swordsman" bandwagon. A missed opportunity.