Born in HK, Godfrey Ho was the assistant director for Chang Cheh at the Shaw Brothers studio for a few years and worked alongside John Woo. Ho’s first film was a low budget production entitled Parix Killer, followed by the now cult classic The Dragon Hero. He has also made well over 10 korean movies and a dozen or so Ninja movies, most of witch are available on video shelves all over the world. Godfrey Ho found fame with the modern day femme fatale genre and a series of films including Lethal Panther, Princess Madam and Born To Fight. He also directed Cynthia Rothrock in Honour And Glory and Undefeatable. Godfrey is currently working between USA and HK. —hkcinemagic
Can his work be defended for artistic merit? No. Somewhat morally questionable in some of the content? Yes. But when one finds the notion of "good art" is completely subjective, you can appreciate this man's work as much as the talent of a Luis Bunuel. For a lack of a better term Ho, in collaboration with producer Joseph Lai, created a filmography in-between them that was a continually expanding clusterfuck. A labyrinth of repeated, reedited and shifting material that if you start to admire it, leaves you realising how abstract it is, far more so than more celebrated but dull exploitation films. Putting different pieces of film together, the desire for profit suddenly became the strangest meta-experiment accidentally done. Scenarios that shouldn't exist in the same time space take place and with the lines between them thin. A fashion melodrama gets invaded by counterfeiting and ninjas in an example infamous to me personally. Even whether Ho actually worked on some of the reedited projects is up to debate. Robo Vampire, one of his most infamous I need to see, has been pointed out to me online to not have any involvement from Ho despite being seen as his key film in some quarters. Joseph Lai took credits, possibly stole a few, as director. Martial arts films from South Korean and Taiwan have Ho's name on them, but have nothing to do with them, leading me with a filmography that is as much a bizarre phantom zone of "not-quites" not seen with other directors I'm interested in. That's not even taking into account the content of the films, where ninja masters use Garfield phones and I suspect some of the dubbing is of a Commonwealth bent. Delude myself into thinking I hear an Australian accent in all the films despite there clearly nothing of the sort. Even Undefeatable is a one-off oddity - whose else, unless someone can find a Category III Hong Kong for me after reading this, made a hybrid of an underground fight tournament narrative with a psycho horror drama of a sociopath with mommy issues, and a broken down marriage, with eye trauma to match Lucio Fulci?