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kokuryuha last won the day on May 4 2019

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About kokuryuha

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    Spiritual Shadow Boxer

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  1. On behalf of myself...I should've taken my own advice and PM you if I thought otherwise on what you posted or gave closer scrutiny to what was written before jumping the gun and responding as hastily in the manner I did.My apologies in return for any offense I have caused to you and any discomfort to those who read it or will read those posts of conflicting views.My primary intent is to share knowledge and receive it in return as well as be among those with the same intentions.No grudges held and none taken from here on out.
  2. I dont mind apologizing if I misunderstood what you intended but dont patronize me with your social standing or the length of time you've been a member of this network.It's like you're giving the impression that you want special treatment from me.I'm not trying to pick a fight with anyone in the chamber,much less on a thread that I created but instead of barking back and beating your chest about your place in the hierarchy of the chamber,PM me and I would've recanted my statement.Either that or just report me to a moderator instead of making this a tit for tat issue if you feel that I'm "picking on you" as you so passionately put it before you went back and edited that comment out.Am I an internet bully now? No.I'm a person who is civil enough to come to terms with something or can be reasoned with.
  3. It's funny how you took the time to post all this but if you'd have taken just a portion of that time to realise that out of all those things mentioned in that commentary,the one info mentioned about the actual release date of the Victim movie along with the possibility of Bobby Samuels living with Sammo were the only ones I entertained in this thread.I even went so far to mention in another post on here in response to another person like yourself who wanted to debunk what I said,I clarified that Ric Meyer's viewpoints hold no meaning for me and have no place on this thread.I was only going by what Bobby had said in regards to Sammo regarding certain things.And why not since he was the only black man that Sammo was affiliated with closely like that during that time! Meyer was only mentioned in the same sentence due to the fact that he was on the same commentary involving that particular Victim DVD release. If you erroneously thought that I'm a supporter of Ric Meyer then let me rectify your mistake.If I believed all that was mentioned on that commentary or any other commentary within that genre or outside of it,Then I would've just did you like did and excessively post everything that was said instead of selectively choosing what I thought was credible or at least close enough to the truth.For the record who believes everything single thing on any commentary anyway? Or every interview or article? FOR THAT I CALL B.S.✋
  4. kokuryuha

    November Mutual Movie Review thread

    Want a review? I give it 5????? A Milestone of a Kung-fu classic which I consider to be Bruce Lee's most bold and entertaining movie because of his crusade against racism toward the Chinese and one of the best "Avenging my Teacher's death" movie themes ever. The way Bruce Lee kicked ass and took names in this endeavor is still imitated to this day.The end.And that's the short version just for you.Glad you loved the pictures.
  5. kokuryuha

    November Mutual Movie Review thread

    In response to secret executioner's eager beaver mentality to get to the primary objective of this thread I'll opt to get this party started underway.But before I do,Let me say that part of any function of a topic within a thread is allowed to have thoughts or opinions expressed about whatever someone posts on a subject whether it's about the actual thread or something regarding it.The only real "rule" is for us to respect each other and that person's opinion whether we agree or agree to disagree and to coexist with one another like actual Kung-fu classmates within a Kwoon or Clan if that's more to your liking. And now without further adieu...Fists of Fury aka Chinese Connection. In this November review theme of China vs Japan,Fists of Fury released in 1972 is my favorite Bruce Lee movie and preferred choice because it was among the first and most prominent to address the racial tension amongst the Chinese and Japanese folk as well as to establish the firm stance taken to break the stereotype of referring to the Chinese as "Sick Men off Asia" In doing this Bruce Lee became a patriot to his fellow Chinese as well as an icon. This movie has also established not only a cult following for the innovative and realistic fighting displayed but gave birth to the fictional protagonist Chen Zhen,who became so popular that this character has been continually used in remakes of this movie such as Fist of Legend (1994)the most notable,as well as spawning tv serials and has evolved into a brand all his own resulting in a movie bearing his name and becoming an offshoot of The Fist of Fury Franchise called Legend of Fist:The return of Chen Zhen(2010) The original movie itself,taking place in the 1920's is centered around Chen Zhen returning Shanghai to marry his fiancee but upon his return he stumbles upon a funeral procession that involves the burial of his Sifu Huo Yuanja(a real life famous martial arts figurehead interwoven into this fictional movie)by his fellow classmates of the Jingwu martial arts school.His death is determined as a sudden illness but Chen Zhen,although distraught thinks otherwise. While in mourning a rival Japanese school accompanied with their translator arrives to mock the school and it's founder by bringing a signboard with the slogan:"Sick Men of Asia" showing blatant disrespect and throws down the gauntlet for a challenge.The eldest disciple restricts his classmates to fight much to the chagrin of Chen Zhen.The next day Chen Zhen takes it upon himself to boldy go into the same Japanese dojo,alone with signboard in hand to answer their challenge and singlehandedly defeats the entire school as well as beat their respective sensei to a pulp without so much as a scratch on his person.Before departing in high feather,he warns them never to refer to the Chinese as sick men and literally makes two of the previous students who were there at the Jingwu School when the challenge was made...Eat the words from the signboard. This sets off a chain of retaliatory events between both schools and in the midst of it all,Chen Zhen uncovers that his beloved Sifu's death was brought on by poison administered surreptitiously by two Japanese men affiliated with the rival school posing as cooks within the Jingwu school.After dispensing his fatal fury upon them,Chen Zhen continues to persue vengeance and wreck havoc to avenge his Sifu while being on the lam from the law in the process.The Japanese fought using sheer numbers and even used their affluence to manipulate the law to do their bidding as well as employ a foreigner to fight on their behalf while Chen Zhen representing the Chinese fought using his cunning going so far as to using disguises to procure information as well as infiltrating the enemies territory as a telephone repairman to assess their strength and scrutinize their environment,coupled with his trademark animalistic ferocity and incomparable kung-fu skills. Although Chen Zhen emerged triumphant in his quest to avenge his teacher's death by vanquishing the the primary wrongdoers who orchestrated the conspiracy to kill him,this did not come without it's price due to the fact that the innocents swept up in the carnage consisted of his fellow classmates some who were either killed by the Japanese to reciprocate Chen Zhen's onslaught against them and the remaining ones who were continually harassed and interrogated by the Police in their haste to capture him.Not to mention his fiancee who would never be able to consummate their marriage now because in order to prevent the school from being closed down and his teacher's legacy from being tarnished,Chen Zhen offered to sacrifice himself to appease the law and the Japanese representatives in exchange for impartiality given to the school and his classmates for his justifiable yet unlawful actions.
  6. kokuryuha

    November Mutual Movie Review thread

    I dont understand why you brought up Tung Wai's youthful looks in regard to him taking punishment in the first place either.If you were trying to suggest that because of Lo Meng's brawny apperance that he could withstand more punishment is a moot point.It's all about the will and the spirit of individual that determines what a person can stand anyways.That's why I said I what I said.I'm going to leave it at that from here on out.No point in prolonging this any further.Two tough guys,Period.
  7. kokuryuha

    What are your latest DVD/Blu-ray purchases?

    I just recently copped the limited print Koch media book Blu-ray/DVD german import uncut version of Pray for Death(1985) starring Sho Kosugi complete with extras and a twenty page booklet.All for $34.Not too shabby when you consider what some of these greedy ass blockheads are tryna sell them for.
  8. kokuryuha

    November Mutual Movie Review thread

    You just now realized that Tung Wai looks like a teenager? With the exception of his heroic bloodshed triad movies,Tung Wai has that fresh out of high school look in ALL of the classic kung-fu movies he's appeared in,unless he's in disguise.
  9. kokuryuha

    November Mutual Movie Review thread

    To you my fellow kung fu veteran Morgoth...If it's about brutality involving Heroes,then Nobody has got my man Lo Meng beat in martyrdom.When you look at the torture he endured in the Five Deadly Venoms which lead to his humiliating death from the climatic,noble, yet futile attempt to save his sifu in Five Element Ninja that left him a human pin cushion at the courtesy of Chen Hui Man and Co.Nobody dies harder than Lo Meng! There may be one exception in Chang Cheh's hard to find Taiwanese production "Slaughter in Xian" where one of the heroes gets impaled by an immensely long spike...UP HIS ANUS.So,Stephen Tung Wai had it smooth sailing compared to the aforementioned but he went out like a true Manhua should.✊
  10. kokuryuha

    November Mutual Movie Review thread

    I'm going to have to disagree with you on that one there,Bruh Paimei.We were discussing the most brutal Kung-fu classics the previous weekend with Myself, Szu Yi,Opium,and Yakuza and I think were in unanimous agreement that Thundering Mantis was the most Brutal Kung-fu of classics(Or definately in the top 5!)Beardy went full tilt in that flick from breaking people's joints in the most painful ways,ripping out chunks of hair from a scalp,and even Cannabilsm by biting out portions of flesh and swallowing like a human preying mantis while frothing at the mouth.Leung Kar Yan should've definitely won a golden horse or the equivalent of one in his portrayal of a kung-fu expert gone stark raving mad. I think I'll do an updated review on that movie later on next month...?
  11. Hey,Sis and fellow chambermates,here's an interview with Gordon Liu that you may not have seen.Hope you all enjoy... Gordon Liu: Superstar of martial arts cinema.Interview conducted courtesy of Blitz martial art magazine. Best known for playing larger-than-life heroic roles such as Monk San-Te in the classic The 36th Chamber of Shaolin (1978), Gordon Liu is one of the superstars of the golden era of Hong Kong martial arts cinema. After his debut, he rapidly earned recognition for his strong performances and applying his real kung fu skills in epic martial arts sequences, playing many leading roles in fictional and historical kung fu epics for over three decades, including Quentin Tarantino’s Kill Billseries and Tsui Hark’s Flying Swords of Dragon Gate. Blitz’s US kung fu correspondent Emilio Alpanseque recently spoke to the legend about his kung fu and silver screen career. Master Liu, can you please tell us about your early years? I was born in Guangdong, China in 1955. My family moved to Hong Kong and that is where I started to learn martial arts at the school of Lau Kar-Leung’s father, Lau Cham, a highly respected Hung Gar master. His school was near my home, so I used to skip school and sneak into his classes. I practised for three years without my parents knowing about it. Eventually, Lau Cham and his wife accepted me as part of the Lau family clan. In Chinese tradition, disciples usually receive the name of their master upon acceptance, which explains how I got the stage name of Lau Kar-Fai. Now, since I started working in the movies for a branch of the Shaw Brothers Studios that opened in Taiwan, my name was credited then in Mandarin as Liu Jia-Hui, which later became Gordon Liu in English. So, just to let our readers know, the Lau family clan is one of the most important sources of talent in Hong Kong movies since the days of the old Wong Fei-Hong movies, right? Yes, exactly. Lau Cham participated alongside Wong Tak-Hing and Shek Kin in those fabulous series, usually playing Lam Sai Wing, his real-life master. I was a big fan of this series when growing up. Little did I know that later I would become the adoptive brother of Lau Kar-Leung, one of the real sons of Lau Cham, who worked in the industry since very young and today is one of the most important actors, choreographers and directors behind the kung fu movie genre. Actually, my relationship with Lau Kar-Leung is kind of special because he’s been my adopted brother, my mentor and my friend all at the same time. So, what were your first real steps in the movie industry? Martial arts, dancing, singing and playing guitar all were my real interests. During the ’60s, I used to have regular office work until Lau Kar-Leung asked me to act in one of his films. As I said before, I first worked in Taiwan doing stunts and small roles, I had my first major role in a movie called Shaolin Martial Arts (1974), directed by the famous director Chang Cheh. Then, as Lau Kar-Leung left his role as Chang Cheh’s fight choreographer in order to pursue his own career as a director in Hong Kong, he cast me as the leading role in several of his films such as Challenge of the Masters (1976), Shaolin Challenges Ninja (1978) and of course, The 36th Chamber of Shaolin(1978). The 36th Chamber of Shaolin was your first major hit — can you tell us a few interesting things about this movie? There are so many things! This movie is actually a story partly based on the history of the Shaolin Temple and the Shaolin martial arts in general. So, as a movie, it was not only entertaining, but it also helped to spread some of the traditions of the old days. Lau Kar-Leung was the director and worked very hard to design all the choreography for the movie; as you know we originally practised Hung Gar, therefore our style is presented throughout the movie — of course, not all of it, but in shorter segments here and there. So, in that sense, I was very happy to work on this movie. What I did not like was to have to shave my head once the character was forced to hide in the Shaolin Temple (laughs). But, wasn’t your intimidating monk image one of the features that made you famous? Unfortunately, yes, and I was both upset and uncomfortable. During those days it was not normal to wear a shaved head on the street; perhaps only criminals or medical patients would. I remember I had all kinds of wigs to wear outside of the studios, even at home. But there is no doubt that audiences seemed to like me better like that. So, what is the actual historical accuracy of these accounts? In terms of The 36th Chamber of Shaolin, there are historical records that indicate that monks and secular men lived in the Shaolin Temple and participated in campaigns against the Qing Dynasty rulers. My character, Lau Ye-Tak, who later became Monk San-Te, is also mentioned in history. Now, was he the one who arranged the possibility for laymen to start learning Shaolin martial arts? We certainly do not know that. But again, these movies took facts from our martial arts history and elaborated scripts around them for storytelling purposes. I guess that explains why you can find many characters like Luk Ah-Choy (another real-life Hung Gar ancestor) in the same movie. But, elements like the 18 Bronze Men, the 36th Chamber or even the Southern Shaolin Temple itself; did they really exist? Nobody can tell this for sure; we like to believe it as this is all part of the history that has been passed to us from generation to generation. It’s part of our cultural tradition. It can also be found in classic literature, novels, etc. You can call it unofficial or informal history. The kung fu movie genre has made extensive use of informal history, starting from the old black and white films until today. Nevertheless, the inventive training sequences of The 36th Chamber of Shaolin were outstanding. Oh, yes. It took us nearly two months to complete this movie. The main intention of the director, apart of working upon the fact that secular men were allowed at the temple, was to show that real kung fu relies on the use of weapons but more on the practitioner’s own capabilities such as his balance, concentration, eyesight, hearing, etc. As a result, each training chamber inside the temple was designed with that concept in mind and, in reality, I must say that many of those training methods can be found in actual martial arts training systems; many reminded me of my own training back in the day! After all, apart from Bruce Lee in the ’70s, it was Lau Kar-Leung who was the first one to bring real kung fu to the movies instead of using Peking Opera-based choreography with stylised fighting moves with no real application. That was the traditional Shaw Brothers-style action at its best — very hard to make. But I consider the Chinese opera choreography can be very intricate and useful for the movies, too; long weapon fights and acrobatics, for example. Sure, we have to remember that the actual movie screen is very big; therefore, all techniques used must also have great amplitude in order to look good. So there is room for those stylised battles and acrobatics. However, Peking Opera and martial arts are very different. For kung fu movies, precision, power, and clarity in the movements are a must. In addition, during those days we used long takes of more than 50 movements, so it cannot be said that the camera work or the editing was used to cover up any lack of skill in us. It was very gruelling for us to shoot a movie under such conditions. But today, you don’t see that anymore, all you see is action scenes that consist of so many short takes and quick editing. Definitely true. So after the success of this movie, what was next? Well, we had around 20 years of movies at the Shaw Brothers. We did many straight kung fu classics such as Legendary Weapons of China (1982). Director Lau Kar-Leung also was the first one to bring comedy into the genre with movies like Dirty Ho (1979) and Return to the 36th Chamber (1980). Oh yes, the one with all the bamboo scaffolding techniques? This movie had great training sequences, comedy and great kung fu action. That’s correct. It follows up the original but I do not play Monk San-Te anymore; instead, I play a man who actually tries to pretend to be Monk San-Te to help his brother. It worked at first, but of course, eventually he is revealed and was beaten up. As a result, he decides to enter the Shaolin Temple to learn the real thing. Once inside the training, he is not allowed to learn kung fu directly, and this is when the bamboo scaffolding comes in. Notice the film doesn’t mention any weapons, no swords, no spears, but when you know kung fu, anything on your hands can become a weapon. And scaffolding proved to be another type of Shaolin training. Actually, it was very tough to do (laughs). For example, you use your hands to tie the scaffolds, your legs to kick the heavy bamboo rods and your waist to control your balance. Not to mention the fear of heights that you can feel on top of those structures. Very interesting. So, with all this extensive experience, have you directed any films? I starred in and directed an independent film called Shaolin and Wu Tang (1981). It was very well received both by the critics and the box office; but I thought that directing and acting at the same time was too troublesome to do, so I continued to work as an actor in many other films. In 1986, I left the Shaw Brothers and spent a number of years starring in Taiwanese television series. During this time I also formed my own production company, which produced over 10 independent films. In 1989, Hong Kong’s leading television station invited me to join their network, so I moved back to Hong Kong and continued to work regularly in Hong Kong movies as well. I worked with all the most renowned Hong Kong actors such as Yuen Biao in Peacock King (1988), Jet Li in Last Hero in China (1993), Andy Lau in Drunken Master III (1994), Chow Yun-Fat in Treasure Hunt (1994), and many others. You also worked with Leung Kar-Yan — you were on a TV series with him and Yuen Biao called Real Kung Fu. Oh sure, I have worked with Leung Kar-Yan since the old days at the Shaw Brothers studios. His career is as old as mine. Leung Kar-Yan is a member of the old generation. We worked together in movies as old as Shaolin Martial Arts (1974) for Chang Chen. Is it true that he had no martial arts background? Leung Kar-Yan was a special individual with a great physique and lots of charisma for the screen. He was very fit and capable of doing almost anything a director asked him, but yes, he had no true kung fu or [Chinese] opera background despite the fact that he has successfully done so many kung fu films. He was indeed phenomenal. But after doing so many films, doesn’t this equate to having years of practice in kung fu? Very little, very little. Actors and acrobats may learn how to do the movements from their martial art directors on the set, but they won’t go through the actual training that martial arts require. They cannot perform full routines. Let’s take Tiger and Crane boxing of Hung Gar for example; they may learn how to mimic some of the moves and have great reaction in front of the camera, but they won’t remember much after the film is done. Now, moving forward, what can you tell us about your work in the Kill Bill series? Well, in 2002, director Quentin Tarantino, a long-time fan of the Shaw Brothers’ movies, was able to cast me for his own productions. In Kill Bill, Vol.1 (2003) I played a small but memorable role as Johnny Mo, a masked member of a Yakuza army called the Crazy 88. Then, the following summer, I returned for the sequel, Kill Bill, Vol.2 (2004), but this time, I had a more substantial role as the kung fu master Pai Mei (‘The White Eyebrow’), who was the mentor of Uma Thurman’s character in the movie. It was a lot of fun to make these movies and Tarantino was very impressed with my physique, especially at my age (laughs). And yet, you played a similar character later in True Legend (2010) for director Yuen Woo-ping. Now, what has been your latest project? My last work so far was in the movie The Flying Swords of Dragon Gate (2011), a new twist on the classics Dragon Gate Inn (1966) and New Dragon Gate Inn (1992), shot entirely in 3D and directed by Tsui Hark. In this film I play a Ming Dynasty eunuch called Wan Yu-Lou and had the opportunity to face off against Jet Li in a very interesting fight. Kung fu cinema followers around the world should be happy with this movie. Master Liu, thanks for taking the time to do this interview. It was my pleasure. A big thank you to all my fans and supporters of the kung fu films. I hope they keep the true spirit of kung fu in their hearts.
  12. kokuryuha

    Why I don't have a problem with wire fu.

    Bruh Opium,I like wire fu because as we all well know,some of our favorite and best movies contained it.Joints like Iron Monkey,Kung fu cult master,Zu warriors of the magic Mountain,A Chinese Ghost Story,Once upon a time in china series,Jade dagger ninja (lol) and a shit load of Shaw brothers flicks.But there are two things that are appropriate regarding the use of wire fu.They are the proper setting and non excessive use of it. In wuxia based movies wire fu is the most fitting because the characters are practically superhuman anyway.In a modern setting is inappropriate because fighting should be more reality based.The only exception is if the modern movie is based on some supernatural or sci fi style.When you employ bonafide martial artists with exceptional skills and physical ability, you shouldn't abuse wire fu and undercranking should be avoided whenever possible. Let's face it.....When you have movies like Romeo must die,Cradle to the grave,and Half past dead,Wire fu was definitely inappropriate and over excessive.
  13. kokuryuha

    A Venom On His Throne

    This is worthy of praise Abbott! If only I could have this as a full length poster...
  14. Don't fret over this thread being sullied by anything but someone's negativity.Ric Meyer's thoughts or beliefs have no place in what I post unless it's to systematically correct his mistakes and misquotes.Secondly,you're in no place to challenge what Robert Samuels said in a commentary because you weren't there working in HK during the 70's either.Neither was I.Also you pointed out yourself that he lived with Sammo so obviously that's where the info originated from. As far as Blackface is concerned I wrote a post about that right here in this very same thread concerning Sammo and Robert in the Don't give a damn movie revolving around that same issue.No,I don't approve of Sammo using it in his movies or anyone else for that matter but politics within the movie industry always crosssed that line.Nothing new.At least Robert Samuels can say that he had an experience that very few people have and numerous yearn for by living and working alongside a legendary figure like Sammo Hung.It wasn't all going to be roses and rainbows while doing it.But I'll bet if you ask him of he has any regrets he'll most likely say no or at the least,not much.
  15. Call me a spoilsport,but I really hope that this is the last entry for the IP MAN movies or at the very least for an extended stretch of time.They can exert their efforts on other Martial Arts notables Like for example...Lar Kar Leung? Ronald Duncan? Jim Kelly? Even someone that's still alive like Chuck Norris.If people are so hard up to do biopics on Martial Art Masters....PICK YOUR POISON. There's a good selection to choose from!