Swordsman

King Hu (traditional Chinese: 胡金銓; simplified Chinese: 胡金铨; pinyin: Hú Jīnquán, April 29, 1931 – January 14, 1997) was a Hong Kong and Taiwan-based Chinese film director whose Wuxia films brought Chinese cinema to new technical and artistic heights. It was his films Come Drink With Me (大醉侠, 1966) and Dragon Gate Inn (龍門客棧, 1967) which inaugurated a new generation of wuxia films in the late 1960s. He is also a noted scriptwriter and set designer.

Hu was born in Beijing to a line of well-established Mandarin family originated from Da Ming, Hebei. His grandfather was the governor of Henan in late Qing Dynasty. He emigrated to Hong Kong in 1949.

After moving to Hong Kong, Hu worked in a variety of occupations, such as advertising consultant, artistic designer and producer for a number of media companies, as well as a part-time English tutor. In 1958 he joined the Shaw Brothers Studio as set decorator, actor, scriptwriter and assistant director. Under the influence of Taiwanese director Li Han-Hsiang, Hu embarked on a directorial career, helping him helm the phenomenally successful The Love Eterne (1963). Hu’s first film as a full-fledged director was Sons of the Good Earth (1965), a film set during the War of Resistance against Japan, but he is better remembered for his next film, Come Drink With Me (1966). Come Drink With Me is his first success and remains a classic of the wuxia genre, catapulting the then 20-year-old starlet Cheng Pei-pei to fame. Blending Japanese samurai film traditions with Western editing techniques and Chinese aesthetic philosophy borrowed from Chinese music and operatics, Hu began the trend of a new school of wuxia swordplay films and his perpetual use of a female heroine as the central protagonist.

Leaving Shaw in 1966, Hu travelled to Taiwan, where he made another wuxia movie, Dragon Gate Inn. Dragon Gate Inn broke all box office and became a phenomenal hit and cult classic, especially in the Southeast Asia. This tense tale of highly skilled martial artists hidden in an inn in part resembles Crouching Tiger, Hidden Dragon and was said to be the inspiration behind it; Zhang Yimou’s House of Flying Daggers was also said to be dedicated to this film.

Chief amongst the films which exemplify Hu’s blend of Chan Buddhism and unique Chinese aesthetics is his trilogy A Touch of Zen (which won the Technical Prize in 1975 Cannes Film Festival and which many regard as his masterpiece), Raining in the Mountains and Legend of the Mountains (both dating from 1979, and shot in Korea), all of which were loosely based on Pu Songling’s Strange Stories from a Chinese Studio. After releasing A Touch of Zen, Hu started his own production company and shot The Fate of Lee Khan (1973) and The Valiant Ones (1975) back to back on tight finances. The action choreography in both these films was the work of Sammo Hung.

Though critically hailed, Hu’s later films were ostensibly less successful than his first two films. Late in his life, he made a brief return from semi-retirement in Swordsman (1990) and Painted Skin (1993), but the latter never achieved the renown of those two, financially successful wuxia films. King Hu spent the last decade of his life in Los Angeles, he died in Los Angeles from a stroke while preparing for another film project, with a 23 year old girlfriend beside him. —Wikipedia

Ching Siu-tung (born 1953), also known as Tony Ching, is a Hong Kong action choreographer, actor, film director and producer, who has directed over 20 films, including the critically acclaimed supernatural fantasy A Chinese Ghost Story (1987).

Ching began as an actor and martial arts instructor working in Hong Kong action cinema in the 1960s and 1970s (his father, Ching Gong, was a Shaw Brothers Studio director, and Ching Siu-tung had been trained in Peking opera as a child), but he made his directorial debut in 1982 with the ground-breaking wuxia classic Duel to the Death.

Ching worked with producer Tsui Hark on 1987’s A Chinese Ghost Story, which became an international sensation, although it was usually Tsui Hark who took most of the plaudits. He continued to work with Tsui Hark, directing sequels to that film in 1990 and 1991, and co-directing all three parts of the Swordsman series, starting in 1990. Other directorial highlights included the highly successful Royal Tramp films (both 1992) which starred Stephen Chow and Brigitte Lin.

Ching continued his role as action director / choreographer throughout this period, and has continued to work in that role on high-profile international successes like Shaolin Soccer (2001), Hero (2002), and House of Flying Daggers (2004).

In 2002, Ching was nominated twice for Best Action Choreography at the Hong Kong Film Awards, and won in 2003 for his efforts on Hero. That same year, he made his American film debut, directing Steven Seagal in the direct-to-video feature Belly of the Beast. In 2006, he choreographed the action scenes in the Indian superhero film Krrish, for which he won a Filmfare Best Action Award and Zee Cine Award.

In 2008, Ching directed An Empress and the Warriors, in which he also served as action choreographer. The film stars Kelly Chen, Donnie Yen and Leon Lai. —Wikipedia

A pivotal figure in the evolution of Hong Kong cinema, action virtuoso Tsui Hark was one of the most popular and influential filmmakers ever to emerge from the Pacific Rim motion-picture community. Famed for his work’s rapid-fire pacing, gymnastic camerawork, and visceral intensity, Hark also won acclaim for his rapier wit and impressive stylistic range, moving easily from the martial arts to gangster dramas to even romance. In addition to reviving the moribund swordfighting and kung-fu genres in the early ‘90s, he was also instrumental in bringing the special effects wizardry of Western filmmaking to the East, eventually following the lead of longtime friend and associate John Woo to Hollywood.
Born Xu Wen Guang in Vietnam in 1951, Hark made his first 8 mm amateur film at the age of 13. After relocating to Hong Kong in 1966, he later attended the University of Texas, graduating in 1969. The following year he directed a documentary, From Spikes to Spindles. After relocating to New York City in 1975, Hark accepted an editorial position at a Chinatown newspaper, later helping develop a community-theater group while working on several cable television projects aimed at Asian audiences. In 1977, Hark returned to Hong Kong, beginning work as a television producer for TVB. Two years later, he made his directorial debut with The Butterfly Killers, followed in 1980 by the back-to-back efforts Dangerous Encounter — First Kind and Hell Has No Door. After completing 1981’s award-winning All the Wrong Clues, the first in a string of box-office smashes, Hark mounted his most ambitious project yet with the 1983 sword-and-sorcery epic Zu: Warriors of the Magic Mountain, a visual effects extravaganza employing technicians previously involved with the creation of Star Wars and Tron.
Remaining a remarkably prolific talent, Hark returned in 1984 with a pair of new features, Aces Go Places 3 and Shanghai Blues. After 1985’s Working Class, he turned to his acknowledged masterpiece, 1986’s Peking Opera Blues; a frenetic martial arts farce set in 1913, the picture was one of the first Hong Kong productions to receive global interest, heralding a new era in Eastern filmmaking. That same year, Hark produced John Woo’s A Better Tomorrow, a landmark effort which switched the focus of the industry from chop-socky adventure to hardboiled crime action. Hark spent the next two years working almost solely as a producer, supervising films ranging from the superb A Chinese Ghost Story to I Love Maria to The Big Heat. Only in 1989 did he return behind the camera to direct A Better Tomorrow 3.
While maintaining his busy production schedule, in 1990 Hark co-directed Swordsman with filmmakers including King Hu, Ann Hui, and Ching Siu Tung. The solo effort Once Upon a Time in China, the first in a series of films about the character Wong Fei Huong — an herbalist healer and martial arts master — followed a year later, making mainland actor Jet Li a massive star. After following with parts two and three in the Once Upon a Time series, Hark adapted the Chinese fable The Green Snake in 1993. Between 1994 and 1996, he directed a staggering six films — Once Upon a Time in China 5, The Lovers, A Chinese Feast, Love in a Time of Twilight, Tri-Star, and The Blade, respectively — before traveling to Hollywood in 1996 to film Double Team with Jean-Claude Van Damme and NBA star Dennis Rodman. Teaming again with Van Damme two years later for the wildly unsuccessful Knock Off, it soon became obvious that the spark that Hark displayed in his imaginative Hong Kong productions simply didn’t translate well to American celluloid. Back on his native soil and making something of a comeback in 2001 with his spastically kinetic action thriller Time and Tide, Hark took the conventions of the Hong Kong thriller that he had defined alongside John Woo in A Better Tomorrow and turned them on their head, retaining some of the old magic and resulting in one of his more entertainingly original chaotic offerings in some time. Next up Hark would delve into fantasy with the effects-heavy sequel to his 1983 hit Zu: Warriors of the Magic Mountain, Zu Warriors (2002). —allmovie guide