Shaw Brothers Saturdays: ‘The Boxer from Shantung’ somehow goes for something new, yet lacks originality
Directed by Chang Cheh and Pao Hsueh Lieh
Written by Chang Cheh and Ni Kuang
Hong Kong, 1972
Anyone who has seen just a few Shaw martial arts films has noticed a trend: all of the stories transpire centuries ago, during the era of the many Chinese dynasties. The beautiful costumes, the intricate set designs, the legendary figures upon which writers and directors can find inspiration, the admiration of tactical warfare during the times, all of these and much more are reasons why the studio chose to set its stories in the distant past. As with all rules, there are exceptions. Just as not every single Shaw film is martial arts based, not every one is a period piece either. This week, the column takes a look at yet another Chang Cheh picture, The Boxer From Shantung, although this one is set in the 20th century in the city of Shanghai.
Ma Yung Chen (Chen Kuan-Tai) and Hsiao Chiang Pei (Cheng Kang-Yeh) are two friends working blue collar shifts making water pipes for the city of Shanghai. The pay is as small as the their landlord’s attitude is deplorable. While Chiang Pei is a rather fun loving character, honest, friendly, uninterested in creating mischief, Yung Chen is cut from an altogether different cloth. His desire to leave their lifestyle far behind is far more ferocious. Determined to make a name for himself and his friends, along with earning tons of cash, Yung Chen’s rambunctious attitude almost gets him in deep trouble when stumbling upon the evil doings of a local mob, ‘The Four Champions’, whose leader, Boss Yang (Chiang Nan), does not take kindly to intruders. Lucky for Yung Chen, he knows a near impenetrable style of boxing studied back home in Shantung. The volatile and cocky young man beats the living daylights out en entire hoard of Yang’ men. On that same day, he earns the favourable opinion of another, more benevolent boss, Tan Si (Chang Cheh regular David Chiang). With plenty of friends to help him out and a powerful, newly found ally in Boss Tan Si, Ying Chen makes his way up in the world as an enforcer, a protector, and finally a boss.
The Boxer from Shantung may appear as a unique experience for its setting, but said uniqueness is mostly a deception. Yes, a tale of gangsters in a much more modern setting does make for a fresh change of pace. The greater truth of the matter is that the screenwriter and directors (two principle directors for a single film being a first so far as this column is concerned) emulate the exact type of story familiar to fans of gangster flicks. Boxer is, at its core, a ‘rise and fall’ story, with the central character, the charismatic Yung Chen, works his way through the concrete jungle of gang warfare amongst heated rivals in order to make a living for himself, as well as gain increasing wealth and influence over local businesses and prominent individuals. Hence, the general story arc reserves few surprises for the audience, following the genre’s blueprints to near perfection, which is a bit of a shame given that one hopes that with an entirely new setting would liberate the filmmakers from the some of the tropes. Instead, they opt to follow the predictable plot points beat for beat, with only precious little signs of deviation, one example being the development of the love angle. There are not too many false notes per say, but the lack of chances taken is unfortunate.
It is little strange to be watching a Chang Cheh (partially) directed film which features David Chiang playing only a supporting role. Chiang is a loveable type of actor, who can win an audience thanks to his easy charm and wit, and therefore the actor taking center stage has some rather big shoes to fill. In the case of Boxer, that actor is Chen Kuan-Tai, who fills is a perfect fit for said shoes, bringing his own brand of energy to the fold. It is always reassuring to see young, up and coming actors bring the best they have to offer right off the bat. Chen Kuan-Tai is definitely the sort of performer who adds barrels of life to a scene. It helps that the character he plays is cocky, street smart, ambitious and remarkably gifted in the martial arts of his home province. It may be guessed that since the script treks a familiar path, the film could be used as a vehicle of sorts for young Chen Kuan-Tai. It does not necessarily make the film better, but the film’s star is now someone readers may want to peel their eyes for from now on. A little bit of credit should be shared with his co-star, Cheng Kang-Yeh. While he does play the supporting role, serving mostly as comic relief more than anything else, the performance is a fun one, if a little bit on the cheesy side.
The necessity for not one but two directors is one to cause perplexity. As has already been written in this review, the story is easy to follow due to its familiarity, therefore causing one to wonder how exactly Chang Cheh and Pao Hsueh Lieh collaborated on the project. There are few tonal inconsistencies and it is fair to wonder if their dual participation has anything to do with it. Some scenes are filled to the brim with energy and spunk, whereas other fall incredibly flat, lacking any momentum whatsoever. Oddly enough, the scene introducing David Chiang’s mob boss character is one such scene, in which he playfully taunts Ma Yung Chen, who at that point is just a nobody in the underworld, wondering the streets looking for a job opportunity. The scene is abnormally long, with each subsequent character reaction delayed for some unexplained reason, not to mention that there is no music, thus making it seem all the more hollow. This happens on a few occasions throughout the film and every time it plays out very strangely.
The action, when it erupts, is not of the most imaginative variety (nor is star Chen Kuan-Tai the most impressive fighter, moving a little bit slowly all things considered, even though he does give it is all), but what it lacks in creativity in makes up for in scale. Almost every single action scene involves the protagonist, sided with perhaps a couple of allies, fending off armies of Boss Yang’s men, many of whom enjoy attacking with little hatchets. These brawls en up being rather fun romps, wit plenty of bodies running, flipping and falling all over the place. The best is saved for last, as Chen Kuan-Tai finds himself all alone against Yang, his strongest enforcers and tons of other hoodlums inside a tea shop, fighting on both the second and first floors. To top it off, he receives a hatchet to the stomach, but of course refuses to back down and takes out as many villains as he can anyhow.
There are a few significant opportunities which are lost in Boxer. Providing the film which a context so vastly different from the majority of other Shaw productions, in addition to favouring a lesser known actor in the lead role with the more accomplished ones serving the secondary participation brought with it plenty of potential. Admittedly, upon learning that Chang Cheh had in fact directed a more contemporary action film, this martial arts fan’s curiosity was very much aroused. Ultimately, it gets the job done, which still means something at the very least. It is a competently made production. The problem is that it does not aim high enough.