ONE ARMED SWORDSMAN (1967)IRON FISTS OF SHAW VS. WANG YU & BRUCE LEE
Raymond Chow would produce his own version of both THE CHINESE BOXER (1969) and THE ONE ARMED SWORDSMAN (1967). This film was called THE ONE ARMED BOXER (1971) and starred Wang Yu. This production probably annoyed his former boss to no end. Shaw's would counter attack with both a law suit and with NEW ONE ARMED SWORDSMAN in 1971 starring David Chiang and again directed by Chang Cheh. Wang Yu gained a great deal of animosity towards his former employer as many of his films mirrored a number of Shaw Brothers productions. Often these were blatant copies in what would seem an effort to steal some of the box office pie from the enterprising Shaw's. Because he jumped ship to the competition before his contract had expired, Wang Yu was not allowed to shoot movies in Hong Kong until his Shaw contract expired in early 1973.
ONE ARMED SWORDSMAN (1967)
VENGEANCE! (1970)
In 1969, Shaw's personally financed the beginning of a new genre--the Guo Shu Pian, or the "New Hero Genre". The film was VENGEANCE! starring David Chiang and Ti Lung with direction by Chang Cheh. The film won Best Actor for David Chiang and Best Director for Chang Cheh. It was a new style of action film foregoing the tired swordplay genre replacing it with a more modern setting. The result is one of the most respected action thrillers ever to come out of Hong Kong. It was also very instrumental on the career of a young John Woo, who was Chang Cheh's assistant at the time.
VENGEANCE! (1970)
David Chiang and Ti Lung, along with director Cheh were called 'The Iron Triangle' in Hong Kong because their films were so successful. VENGEANCE! (filmed in 1969 and released in 1970) and THE CHINESE BOXER (1969) ushered in a new era of screen fighting and action thriller that would take hold of the HK box office. By decades end, this style would morph into an amalgamation of styles producing new innovations for audiences to enjoy.
VENGEANCE! (1970)
Shaw Brothers also collaborated on a number of US and international productions. Wishing to increase the quality of their homegrown product, filmmakers and technicians from Korea (and most notably from Japan) were brought over to improve Hong Kong's cinematic output. This joining of different filmmaking techniques was a mutual exchange with both sides learning a great deal from the collaboration. A fair number of Shaw Brothers movies were co-productions with Korea, Taiwan and Japan.
36th CHAMBER OF SHAOLIN (1978)
Often times these cooperative deals would have differences in release versions for there respected territories. Shaw's movies were patterned after old Hollywood style productions. The bulk of their films were shot on studio sets with little or no location shots. This gave the films an otherworldly, operatic quality. The set design and attention to detail was impeccable and couldn't be matched from any other studio at the time. The Shaw's also followed the old Hollywood method of keeping their talent under tight contracts.
THE MAGNIFICENT RUFFIANS (1979)
For years, it has been said actors were paid very little money but since then, it has become known that if an actors films were popular, then they would receive a bonus that was often enough for a house. However, it isn't known if this bonus system applied to everybody. Whatever the case may be, judging from pictures from magazine articles of the time, all the big names were not lacking for anything. Despite Shaw's iron fisted ways, the brothers were known for regularly contributing to the public by holding charity events for the needy; giving back to the people in a similar fashion the way their father had done decades earlier.
THE REBEL INTRUDERS (1980)
Because of Sir Run Run Shaw's refusal to relent to prima donna demands, the studio would miss out on one actor who could have cemented their dominance forever. It ultimately proved that they, too, could be beaten at the box office. If they had been able to have acquired this actor, the future landscape of the HK film industry might have become a very different place. Upon his return to Hong Kong, Bruce Lee (who admired the Shaw style of filmmaking) went to Shaw's first, the studio being the biggest, and most dominant in Asia at the time. Offered one of their standard contracts, Lee rejected it in contempt.
FIVE ELEMENT NINJAS (1982)
Lee wanted an exorbitant amount of money (by HK standards) plus a percentage of the gross. No doubt his time in Hollywood had rubbed off on him as the days of the contract player had ceased to exist in America. If Shaw gave in to Lee's demands, he would have had to do likewise for his other contracted talent. Chow saw opportunity and a chance to pull his company out of the financial mire it had been placed in. Chow made Lee an offer he couldn't refuse. He was willing to give Lee everything Shaw would not and the gamble paid off. Shaw Brothers loss became an incredible gain for their former executive. Shaw would also lose another great talent to Raymond Chow's attractive financial offers and benefits-- famous comedian, Michael Hui.
FIVE ELEMENT NINJAS (1982)
Bruce was the first Asian actor to get some kind of exposure in the US with the GREEN HORNET tv show as well as several other television programs. He was already a proven commodity when he came back to HK to make movies. His popularity with the Chinese audience had greatly increased because of his tenacity and his ability to break into the theatrical cognoscenti in America. Before Bruce Lee, Asian roles in Hollywood were always portrayed by Occidental actors made up to look Asian. This racist thinking (not just the industry itself, but the audience as well) would remain for some years.
DVD Availability: Celestial Pictures has released over 500 of the Shaw Brothers movies on DVD through the Hong Kong based, IVL label-- IVL (R3); Dragon Dynasty (R1); Image Entertainment (R1); Well Go USA (R1); BCI/Ronin Entertainment (R1)
CONTINUED IN PART 3...
ALL MEN ARE BROTHERS (1973)
***WARNING: Some nudity below***
THE ADVENT OF SHAW BROTHERS STUDIOS
The Shaw Brothers began film distribution and production in the early 1920's against their father's wishes. Their father, Shaw Yuh Hsuen, became wealthy running a dye factory in Shanghai. He was an extremely charitable man. He donated liberally to the public including distributing money and grain to those in need. He was disapproving of his sons pursuing careers in the entertainment industry. In the beginning, the Shaw's were like a traveling cinematic circus setting up tents from town to town and showing films and attracting the curiosity of the populace. Wherever they went, if movie showings proved profitable, they built a cinema there. The brothers methods were crude and rudimentary but their drive and devotion would pay off in the long run. One particularly ingenious idea was that when the Shaw's bought property to build a cinema, they would purchase more land than necessary. The thought being that a prosperous theater would benefit surrounding businesses increasing adjacent property value. They continued to utilize the mobile cinemas for use in rural areas far from the cities.
DRAGON SWAMP (1969)
THE MAGNIFICENT SWORDSMAN (1968)
The Shaw's had experimented with "talking pictures" as early as 1931. Their first "talkie", NORMAL DRAGON would see release in 1933. Costing US$1,500 to make, the film grossed US$85,000. Its theatrical run in Hong Kong ran for over a year. In addition to their theaters, the Shaw's were also successful in running amusement parks, another prosperous business venture that would last into the 1980's. Trouble struck when the Japanese entered Singapore and seized all of Shaw Brothers assets. Interrogated, the Shaw's were forced to show Japanese propaganda films. Hollywood films were banned by the Japanese oppressors in late 1943. The cinemas and amusement parks were given Japanese names and were forced to display Japanese flags.
THE LADY HERMIT (1971)
After the war was over, Shaw Brothers began the arduous task of taking back their place as the leading film distributors in Asia. During the early 1940's prior to the Japanese takeover, American productions accounted for 70% of films shown in Shaw cinemas with only a meager 13% being home grown product. However, by the mid 1960's, Chinese films shown in Shaw theaters in Hong Kong had slowly began to overtake American films in popularity for the first time. Live stage shows such as beauty pageants, live bands and magic acts were implemented into the Shaw scheme to keep crowds interested and coming back. The aggressive tactic of buying out their competition as well as overtaking independent outfits allowing only the showings of Shaw distributed movies led to a monopolization the likes of which would never fly in America.
THE RESCUE (1971)
By 1965, Shaw Brothers Limited had 35 companies under its banner. The company owned 130 cinemas throughout South East Asia including Singapore and Malaysia, nine amusement parks and three production studios in Hong Kong, Singapore and Kuala Lumpur. It was also around this time that Shaw's began circulating their own movie magazines-- Southern Screen Magazine went to press in 1957 and was distributed all around the world. A second Shaw publication, Hong Kong Movie News surfaced in 1966. Both magazines ran until Shaw's closed up their film distribution arm in the mid 1980's.
ALL MEN ARE BROTHERS (1973)
With all the constant cash flow running under the Shaw banner, competition was always present. Shaw's faced opposition from Malay companies MFP and Cathay Organization. Even still, Shaw Brothers garnered most of the attention cleaning house at film festivals and welcoming a bevy of foreign stars to the fabled studios. Famous personalities such as James Mason, William Holden, Curt Jurgens, Mylene Demongeot, Yul Brynner, Ingrid Bergman, Robert Wise, Cliff Robertson, Rex Harrison, John Derek, Ursula Andress, Alfred Hitchcock, Elizabeth Taylor, John Wayne, Kirk Douglas, The Beatles and British comedian Norman Wisdom were just some that made the jaunt to Hong Kong to visit the thriving studio. MFP studios would dissolve in 1967 but Cathay would survive well into the 80's.
HEROIC ONES (1970)
By the end of the 1960's, Shaw studios occupied 850,000 sq ft of ground (At the time, the largest privately owned studio in the world). It had five blocks of administrative buildings, an editing and sound recording studio, four staff dormitories that housed 1,500 workers and twelve sound stages which could be used to shoot twelve different indoor sequences at the same time. In addition, sixteen permanent outdoor sets with palaces, gardens and complete streets were erected for filming purposes. There was even a reproduction of China's Great Wall among the many elaborate and ornate Shaw sets.
THE DEADLY BREAKING SWORD (1979)
THE RESCUE (1971)
By this time, the Shaw's had switched over to filming silent, dubbing the soundtrack in afterwards. The films were then dubbed into all the various Chinese dialects (most predominantly Mandarin and Cantonese) as well as foreign languages for the films deemed worthy enough for release in Western markets. Different versions of films were also made-- strong versions for the US, Japanese and European markets and a slightly less graphic version for Hong Kong. The prints seen in Asian territories such as Singapore, Malaysia and Taiwan were stripped clean of any offensive acts.
THE RESCUE (1971)
In the beginning, the actors/actresses and behind the scenes technicians were paid well. Everybody lived on the Shaw lot. It was like a world unto itself. The Shaw's treated their filmmaking empire much like a factory and the functions and activities of the studios operations were handled in that fashion. The Shaw Brothers performers were all treated like family and were encouraged to participate in events sponsored by Shaw such as sporting events and other extra-curricular activities. The fun and excitement would come to an end in the mid 80's when the Shaw's were unable to adjust to rapidly changing audience tastes as well as change from within the industry itself.
PORTRAIT IN CRYSTAL (1983)
A combination of new and hungry filmmakers adapting to a New Wave style of movie-making as well as a new type of action film replacing the "old fashioned" type produced for years by the Shaw's. The few inspired attempts at the new style were not enough to save the studio whose decline in quality had reached a major low point from the exuberance of a decade earlier. Considering so much similar programming was being shown on television for free, Shaw Brothers Movietown was closed as a film production facility and leased out to other studios both local and abroad. This was not a sad end for Shaw's however, as Sir Run Run Shaw owned TVB, a television arm he launched in 1973. TVB has since become the leading producer of Chinese television programming in the world.
THE LADY HERMIT (1971)
THE WEB OF DEATH (1976)
THE LADY HERMIT (1971)
ALL MEN ARE BROTHERS (1973)
DVD Availability: Celestial Pictures has released over 500 of the Shaw Brothers movies on DVD through the Hong Kong based, IVL label-- IVL (R3); Dragon Dynasty (R1); Image Entertainment (R1); Well Go USA (R1); BCI/Ronin Entertainment (R1)
CONTINUED IN PART 2...
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