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The Wu Tang Collection: The weirdest “Ku Fung Theater”-style mostly-Asian action flicks you’ll ever see
We’re stoked to announce that we’ve just added a brand new category over on Night Flight Plus, the Wu Tang Collection, where you’ll find “Kung Fu Theater”-style martial arts movies — spanning five different decades (’50s-’00s, but mostly from the ’70s and ’80s) and originating from several different countries (China, Taiwan, Korea, Japan, etc.) — which we promise will be the weirdest mostly-Asian action flicks you’ll ever see.
This awesome collection — originally gathered up in the 1990s, ostensibly capitalizing on the popularity of the Wu Tang Clan, who emerged in the summer of ’93 from the slums of Staten Island to take the hip-hop world by storm — really runs the gamut of genres and styles (and even numerical title sequences), jumping back and forth from Bruceploitation comedies, to serious Shaolin kung fu fighting, to Italian Giallo-inspired horror, to supernatural ghosts and ghouls with amazing martial arts skills, to Wuxia (esoteric fighting styles with a lot of rotoscoped magic lasers and monsters) and there’s even some softcore-esque NSFW titles in the mix too, for those who like a bit more “mature content” and full-frontal and full-backal and full-side-al nudity mashed-up with their martial arts movies.
We’ve picked ten movie titles to highlight in this introductory post (big thanks to Night Flight contributor Travis Box for the help!), all of them extremely entertaining movies and largely representative of the scope of what you’ll find in our Wu Tang Collection catalog of titles.
Much like “Kung Fu,” the 1970s TV series which was aired on the ABC network from October 1972 to April 1975 (absolutely one of Night Flight’s favorites!), The 18 Bronzemen (1976) tells a tale of a group of young students at a Shaolin Temple in China, during the early days of the Qing Dynasty, who endure rigorous training by the Shaolin monks (with impressive eyebrows and facial hair) and skillfully perfect their Shaolin combat skills.
Their Shaolin training — among the oldest institutionalized styles of Chinese martial arts — culminates in a sequence of exciting displays of all kinds of fighting (with swords and sticks, and ballet-like kung fu moves) against eighteen fighters — some look like robots in thick, gold-plated armour, while others are painted bronze (well, more gold than bronze, really, but The 18 Bronzemen is a better title, I guess) — in a trap-filled, multi-chambered labyrinth.
As Carl Douglas sang in ’74, “Everybody was kung fu fighting!“
During the film’s second half, we follow the journey of two friends who have graduated from the Shaoelin temple: Brother Wan (Carter Wong), who much like Caine in “Kung Fu” was the temple’s star pupil, and Shaolung (Tien Peng), who was abandoned at the temple by his grandmother, fearing for his life.
Shaolung wants to find out the truth about his past and one day avenge the death of his father, a high-ranking Ming official, by the wicked General Kwan (Chang Li) (we see his father’s death scene in an awesome flashback sequence).
Along the way, the two friends are joined by fantastic leaping female ku fung master, played by Polly Shang Kwan, who also happens to have been betrothed as a child to be Tien Peng’s wife.
There’s a great final battle — a four-way fight — with the evil General Kwan and his clones (!), who have also trained themselves to fight like Shaolin masters.
Plotwise, there are lots of twists and turns, which we won’t give away here, and it can be a bit confusing here and there, but even so, many believe The 18 Bronzemen just might be the producer/director Joseph Kuo’s masterpiece. It’s definitely one of his signature classics, no doubt about that.
The first of its many sequels — Return of the 18 Bronzemen — was released shortly after this first film (subsequent titles include Blazing Temple and Eight Masters.)
The photography and production design are visually impressive (playing like an homage to the golden era of Shaw Brothers studios of the 1960s) and the film’s original Chinese music score, even in the U.S. English-dubbed version, is stunning.
The Three Fantastic Supermen (Italian: I fantastici tre supermen 1967) is a sometimes corny, always campy Italian superhero movie, inspired by TV’s “The Green Hornet” (1966–’67) and the Adam West-led “Batman” (1966 – ’68), not to mention 1966’s Batman: The Movie as well as the early films in James Bond film franchise.
Plot: FBI agent Brad McCallum (played by Brad Harris) partners with two former friends, Tony (Tony Kendall) and Nick (Aldo Canti, using the name Nick Jordan)— wearing face masks, capes and bulletproof super-suits — to become a trio of crime-fighters who join forces (and apply their special skills) in order to take down the mad scientist named Wilfried Gottlieb (Jochen Brockmann).
Gottlieb is a fat Goldfinger-type supervillian, who’s running a conterfeiting crime ring (with diplomatic immunity), using his cloning machine to create exact copies of various characters (who end up being melted down into glittering jewels) and to flood the market with radioactive currency.
Highlights include mute Nick’s karate fights (lots of acrobatic somersaults and flips and mini-trampoline stunts), and the use of a metal yo-yo, not to mention scenes of Mexican wrestling and judo chops.
Tony Kendall and Brad Harris had both previously appeared in Kiss Kiss, Kill Kill, which had been directed by Gianfranco Parolini in 1966. Parolini — often using an American psuedonym, Frank Kramer — had previously worked on sword-and-sandals genre films.
They drafted in stuntman/actor playing Nick — Aldo Canti/Nick Jordan — who was actually a real-life convicted Mafia thief, who had been released from prison in order to appear in the film (he was later shot in the head in a gangland hit in Rome, over a gambling debt).
This film — shot entirely in what was then Yugoslavia — turned out to be the first in what proved to be a very popular series with numerous sequels set in locales spanning the globe.
Fans of movies like Danger: Diabolik and all the aforementioned 1960s-era films and TV series will no doubt love this one, as fans did in the late Sixties, which is why there were so many sequels, knock-offs and associated films (taking place in far-flung locales, like “the jungle,” the “Orient,” “Tokyo,” “the West,” “San Domingo” and much more.
1978’s The 7 Grandmasters (Chinese: Hǔ Bào Lóng Shé Yīng) is considered a classic martial arts classic, and possibly Taiwanese filmmaker Joseph Kuo’s best film, blending slapstick comedic elements with lots of great kung fu action for a suprisingly fun little movie that stands the test of time, starring Mark Long, Jack Long, Corey Yuen and Lee Yi Min.
Storywise, we’re off on another journey — the cinematography is gorgeous and colorful, with lots of green and blue hued scenes — following an aging kung fu master Chun (San Kwan Chun) who isn’t quite sure he deserves the plaque he receives from the emperor that claims he’s the world champion kung fu fighter.
In order to determine whether he’s the best, he and his students (he sets off with four, but along the way, a fifth student, Siu Ying, who wants to avenge his father’s death — tags along too) set off to fight with each of the 7 Grandmasters, whom he must defeat before he can accept the title bestowed upon him — the fight with the Monkey Kung Fu expert (Chin Yuet Sang) is classic, by the way.
We’ve read that the story — plotting which pits masters against students, a familiar trope in literally thousands of martial arts films — is actually based, in part, on the life of a real kung fu expert — quite possibly named Cheung Lai-chun — who, in the 1940s, fought with some of his country’s top kung fu fighters, besting them all at the age of 66.
The legend of a top Shaolin fighter, however, goes all the way back to Bak Mei — also known variously, and confusingly, as Hakka Bak-Mei, Bai Mei, Pai Mei and Pak Mei — who was, according to Wikipedia, one of the Five Elders who were survivors of the destruction of the Shaolin Monastery by the Qing dynasty (1644–1912), who, according to some accounts, betrayed Shaolin to the imperial government.
Bak Mei — the name, in Cantonese, literally means “White Eyebrow” — is also the inspiration for the character “Pai Me,” a master of several different styles of kung fu fighting, including the Eagle’s Claw, played by Gordon Liu in Quentin Tarantino’s Kill Bill, Vol. 2 (2004), although Liu first became famous for playing the lead role of “San Te” in The 36th Chamber of Shaolin (1978).
The 7 Grandmasters is all about the wonderfully-staged kung fu fights featuring all kinds of styles of fighting which appear to be carefully considered and utilized authentically, and not just used as a gimmick in order to have flashy choreography (which was done here by the great Corey Yuen, who would go on to make many classics during the 1980s).
The 7 Grandmasters — filmed in Mandarin, as opposed to Cantonese, which is more common due to Hong Kong’s enormous output on the genre — is not to be missed.
Enter the Fat Dragon (1978) was the second film directed by its star, Hong Kong martial arts legend Sammo Hung, in what appears to have been titled as a parody of both the Bruce Lee 1972 film Way of the Dragon while also being a send -up of the entire Bruceploitation phenomenon of the 1970s, which we told you about here.
For this story — produced by the H.K. Fong Ming Motion Picture Company — Sammo Hung is a pudgy Chinese pig farmer named Ah Lung, who is obsessed with Bruce Lee.
He who pays a visit to his friend, who lives in Hong Kong, and to help out at his uncle’s Hong Kong restaurant, but wherever Sammo goes, trouble seems to follow, leading to scenes where his mimickry of Brue Lee (right down to facial gestures like the way Lee stroked his nose) is put to good use.
This film’s big belly (literally!) comedy scenes — including a Chinese actor in blackface and wearing a fake Afro wig, attempting to look like Jim Kelly — are balanced pretty well with the movie’s fighting scenes, like the scene where he beats up a gang of toughs who have refused to pay his uncle, are incredibly entertaining.
Hung’s directorial debut, 1977’s The Iron-Fisted Monk, was one of the earliest martial art comedies, so it should come as no surprise that the comedy or parody film is where he seems to fit best. Even so, Sammo is a surprising agile and accomplished karate style fighter, and if you’re a Bruce Lee fan, you’ll note that he’s got all of that man’s facial expressions and martial arts moves down pat.
Incidentally, there was quite a direct connection between Lee and Hung, who appeared as a Shaolin student in the opening sequence of Lee’s Enter the Dragon, and it was Hung, in 1978, who was given the opportunity to complete the fighting sequences and do re-shoots for The Game of Death, the film Bruce Lee was unable to complete before his death five years earlier.
Hung later impersonated Lee on film twice more — in the final fight scene against Cynthia Rothrock in Millionaire’s Express (1986), and throughout the awesomely-titled 1990 Lau Kar Wing film, Skinny Tiger, Fatty Dragon.
1982’s The Impossible Kid — a sequel to For Your Height Only, a previous film starring its diminutive smaller-than-dwarf-sized action hero, Weng Weng — was billed as the first Filipino James Bond spoof, although there’s also quite a bit here that was lifted from the Pink Panther franchise as well.
Here, 2-foot 9-inch Weng Weng plays “Agent 00,” a secret agent with a license to kill, working for the Manila branch of Interpol, who, just like the British Bond, is irresistible to a lot of pretty women (despite or perhaps because of his pudding bowl haircut and little white midget disco suit) and with low-blow kung fu-style kicks to the kneecaps he easily dispatches with his combatants — although the enemies Agent Double-O faces are three times his size — with his impressive martial arts skills, which is why this one is flat out hilarious to watch.
Agent Double-O’s case (if you really are in need of a plot) concerns the pursuit of a villain named “Mr. X,” who wears a white sock on his head, who — along with his terrorist group — has taken the Philippines hostage and he’s demanding a hefty ransom before he’ll release the country back to its government.
Two wealthy businessmen, Maolo and Simeon, are willing to pay “X”-man’s demands but little Double-O suspects foul play and he goes deep undercover to reveal just who “Mr. X” actually is.
Despite the end credits, promising a third installment in the series, entitled License Expired, it appears that film was never made and so this is the second and last Agent 00 film.
We should mention that Weng Went is quite the stuntman, leaping off of tall buildings wearing a cap that allows him to float down safely, and jumping over a huge cliff on the baddest/cutest little bright yellow mini-motorcycle that you’ve ever seen.
Agent 00 fights with whatever he can get his little hands on: wooden sticks, metal pipes, car doors, and if all else fails, he’ll use elbows, crotch-punches and — if pushed to the extreme — he’ll even use a machinegun!
Along the way, there are self-destructing TV-sets and pre-recorded videos that ask interactive questions and also respond to live answers.
We should probably also mention that the movie is full of naughty language, sexual innuendos and boobies (yay!), so it’s not meant for kiddies, despite Weng Weng being a snack-sized kid-friendly treat.
The Impossible Kid is a film that provides genuine laughs, as long as you can suspend any disbelief and don’t take any of it too seriously, and why on earth would you be reading this if you’ve got a serious bent? That’s… seriously bent!
1977’s The Invincible Armour (Chinese: Ying zhao tie bu shan) stars Hwang Jang Lee as “Minister Cheng,” a corrupt Ming guard who frames “Chow Lu Fung,” a Ming General (co-star John Liu) for murder, which leads to the general fighting off soldiers and escaping while seeking out the true murderer.
The title of this Ming Dynasty kung fu epic comes from the expert fighting technique, the infamous “hard chi-kung” Iron Armor style, which means that the person who excels in the technique can withstand any assault after transforming his body.
By the way, the Iron Armor still practiced in China today, where the skilled fighter usually demonstrates how his body is “invincible” by bending a spear tip on his throat, the one vulnerable point, called “the breath gate.”
Unfortunately for the General — schooled by a teenager he’s hiding out with, Hu Lung (Hoi Sang Lee, although he uses the name Li Hai Sheng) who happens to be an expert in the infamous Iron Armor technique — the Minister is an expert in the Eagle Claw style of fighting, the one style of proven fighting skill that can penetrate “invincible armour,” but only if the victim’s body is struck in certain sequence of blows.
There are some subplots, too, which we’ll let you discover — Phillip Ko appears as another long-haired master, while Corey Yuen and Yuen Biao team up for cameos as an assassin pair — but really the main focus here is what it is for lots of these classic martial art pics, namely “who is the best fighter overall?,” which we why we see an abundance of in glorious fast-paced fights — choreographed by Yuen Woo Ping, along with Corey Yuen and Yuen Biao — where the flying kicks are just unbelievable.
Director See-Yuen Ng (or Ng See-yuen, if you prefer) — the writer-director of the Bruce Lee bio-pic Bruce Lee: The Man, the Myth (1976 — seems to have been trying to recreate the success of another earlier film, 1976’s Secret Rivals, (a.k.a. Northern Leg, Southern Fist , a.k.a. Silver Fox Rivals) which was the first film he’d produced for his Seasonal Films Corporation, the production company he founded in 1975.
The Invincible Armour was lensed — in the Mandarin language — on the island of Taiwan, by the film’s Hong Kong-based producers in order to save a few bucks on the budget, possibly because quite a bit of the budget must have gone to the actors salaries, as they were some of the top actors in China at the time.
The musical score is also wonderfully odd, with lots of farty 70s synthesizer bloops and, we should point out, there might have been no budget for it either because Invincible Armour features soundtrack music that was directly copied from (or stolen!) from Riz Ortolani’s jazzy score for the great Italo Western, Day of Anger (1967), which coincidentally we also have streaming in our Spaghetti Western collection as part of our Arrow Video titles.
1973’s Killer in the Dark (a.k.a. Duo ming ke and Der Mann Mit Dem Karateschlag (West Germany) and L’emulo di Bruce Lee (Italy) — was marketed as “Hong Kong’s answer to detective Colombo, [who] is deployed to investigate a series of brutal slasher killings on young girls.”
“The murderers,” we’re told, “aside from being mentally ill, are also well versed in the martial arts,” which is why a martial arts expert is dispatched to find the psycho killer before he kills again.
We’re plunged headlong into the story after a young woman’s husband dies unexpectedly in a plane crash, leaving her with his share of ownership of a bar.
Soon thereafter, dead women who have been brutally mulitated, start showing up, and police begin patrolling in the dark, seething underworld of Hong Kong.
We soon learn, just as she does, that the two other co-owners of the bar are suspected in the series of murders.
Killer in the Dark is really kind of a mash-up of bloody Italian Giallo-type hyper-violence, mixed in with a martial arts component, typically found in kung fu films, making for one of the strangest little low-budget movies we’ve ever seen.
One reviewer (which we’ve translated to English for fun) had this to say about it: “It is true that this is a pearl of Asian cinema but it’s really not more than a real trash bead.”
Another review helpfully pointed out that the film is chock full of “… large pictures of ladies’ eyes, swords, black gloves and numerous sex scenes as well as other formals of the genre; including a beautifully filmed passage from the eyes of the murderer.”
Directed by Tung Man Chan (who wrote the screenplay too) and Pecnai Naolod, and starring Bolo Yeung, Fang Yeh, Pai Lot, Yang Sze, Chai Sing, and Hui Shan, Killer in the Dark — a Hong Kong/Thailand film production — appears to have been mostly intended for European film audiences.
That’s why the film is probably best known by its German title (which curiously translates into English as “The Man with the Karate Flake”) or its more generic-sounding English title, Killer in the Dark, which is not to be confused with John Preston’s horror film Séance (a.k.a. Killer in the Dark which starred Corey Feldman and Adam West (!), but holy shit, wouldn’t that be cool if it was?!
The 1982 supernatural horror-kung fu actioner Kung Fu from Beyond the Grave (Chinese: Yin ji) follows the story of a young martial arts fighter named Chun Sing (Billy Chong), who seeks to avenge the death of his father, who was murdered by an evil tyrant.
All of this happens during the month of Yin, the seventh month on the Chinese lunar calendar, which is the month that ghosts are free to roam the earth for thirty days, and mid-way during the month, there’s a great Ghost Festival, during which paper money is burned up and items of tribute are left by the living to appease the dead.
When the gates of hell are opened to let out the ghosts of the dead, Chun Sing is visited by his dead dad — who apparently had six fingers on his right hand for some reason — who comes back to tell him that he was murdered by Kam Tai Fu (Lieh Ho), who lives in the Yellow Dragon town and commands the dark forces of black magic.
Chun Sing enlists the help of ghostly assassins, armed with an ancient book which is allegedly a source of awesome magical power, in order to fight against ghosts, zombies, and vampires.
There’s also a lazy-eyed wizard (Chin-Lai Sung) who pulls of a magic ritual which involves him getting two hearts (the hearts must be from a young man and woman whom are both having orgasms), melting them down and them spitting the liquefied hearts at Kam Tai Fu.
There’s a lot to love about this low-budget feature which gratuitously has a lot of full-frontal nude sex scenes (did we mention the house full of hookers?) mixed in drunk grave robbers stumbling around in graveyards, obscure magic rituals, floating monk ghosts, farting bum ghosts, flying fireballs, scalpings, and ghosts and ghouls of one type or another.
The mangled-English language taglines for the film, seen and heard on VHS trailers preceding other kung fu film releases, are pretty great: “Ghost seeking revenge evils are deadly scared!” and “Human heart annoying both spirits and human!”
You know when you see the Cannon Film Group logo and the words “A Golan/Globus Production” on a title card at the start of the film, you’re in for a thrilling 80s-era action-packed ass-whuppin’ good time, and Revenge of the Ninja provides all that and more. It’s classic ninja goodness.
Mild-manned ninja warrior Cho Osaki (the legendary Shô Kosugi) witnesses the slaughter of nearly his entire family during an attack by a rival clan of ninjas in the film’s opening sequence, set six years earlier in Japan.
Osaki is nearly killed as well, and being that he’s a highly-skilled ninja himself, he avenges his family and kills the attackers, then swears off being a ninja forever.
Then, the story then shifts to the present day, and to the United States, where Osaki — now wanting to live a more simple life and protect his surviving son Kane Osaki (real-life son Kane Kosugi) and his grandmother (Grace Oshita) from harm — operates a store, where he sells imported Japanese dolls.
When his son accidentally drops and breaks open one of the dolls, seeing the heroin powder inside, Osaki realizes that his shop has actually become a front for a heroin-smuggling business, and his friend and business partner Braden (Arthur Roberts), who is also secretly a deadly and powerful silver “demon”-masked ninja, is responsible.
Osaki tries to put a stop to it, but that sets everything in motion, alarming Braden’s drug boss, a mobster named Caifano (Mario Gallo).
After Caifano’s informers are killed, the police are called in, but the know nothing about ninja shit, so they bring in martial arts expert Dave Hatcher (Keith Vitali, later of American Kickboxer fame).
Then after ninja pal Braden kills his mother, kidnaps his son, and later kills Hatcher, who is Osaki’s best friend, in his ninja outfit in broad fucking daylight, Osaki decides its time to become a ninja again, and seeks out his revenge against them, doling it out in punishing ninja attacks that were choreographed by Kosugi himself.
The final duel, a rooftop fight scene between Shô Kosugi’s and Arthur Roberts’s characters took two weeks to film, and involved pyrotechnics and lots of incredible and elaborate camera set-ups (even hanging twenty tories high outside the building).
You can safely expect to see foreheads embedded with ninja stars in this weirdo action trash feature, shot in and around Salt Lake City, Utah, after original plans to shoot in Los Angeles fell apart due to problems with permits and subsequent police and fire department problems.
Directed by Sam Firstenberg — who during the 1980s directed a lot of Night Flight faves, including Breakin’ 2: Electric Boogaloo (1984) — Revenge of the Ninja (1983) was actually a sequel to Enter the Ninja (1981, directed by Menahem Golan and starring Franco Nero), and was the second entry in Cannon Films Group’s so-called “Ninja Trilogy” anthology series (ending with Ninja III: The Domination, 1984).
From what we can tell, Satyre Monks (Chinese: Xie kuai — which bears a theatrical release date of 1994 — was assembled in a post-production editing house by its director Rocky Law (a pseudonym of Ping Shek), who added newly-shot softcore erotica scenes into footage from an 80s-era kung fu movie, Frankenstein-ing both together to make a film which otherwise would not have existed.
Much like the films by filmmaker Godfrey Ho (the Ed Wood of Hong Kong cinema), known for using this same “cut-and-paste” technique, it’s easy to tell which scenes were from an earlier genre film, and which were new (since they’ve made no attempt to hide the fact that the actors are different and the film stock looks newer too).
In this one, we’ve got a story about a group of evil monks, who are seen in the movie’s first moments, praying to a black penis sculpture (which looks to have been cast from a well-endowed, very hard monk) sitting atop a table and surrounded by smoke from burning incense.
They practice something called the “Steel Palm,” which involves a lot of angry middle finger usage and some weirdo facial expressions.
We learn that these monks are actually pretty bad dudes, and they’ve kidnapped young girls and forced them into having sex with them at the temple, which is why there are several newly-inserted scenes of mostly softcore lovemaking, occasional naked body rubbing and at least one threesome.
There’s also a female acrobat that the monks are trying to force into prostitution.
Our hero is a young man named Chung Hoi (Qun Wang), who along with his father, fight to stop them, but dad is killed by the monk leader, who uses the Steel Palm on him.
Hoi realizes that in order to fight and win, he’s going to have to learn a new martial art move — the Double Kick — and so he sets out to find a teacher who can teach him the wicked move.
Honestly, we don’t know much about this one, but we thought we’d share it with you in our introduction since it sorta represents the more hard R-rated side of the Wu Tang Collection. NSFW, obviously.
Cheung Sum’s 1979 feature Snake in the Monkey’s Shadow (a.k.a. Hou hsing kou shou a.k.a. Snake Fist vs. the Dragon) strings together some of the hottest Hong Kong kung fu action you’re likely to see in a combo-pack of the three kung-fu fighting styles: the bumbling, idiotic “drunken” style; the agile, flexible “monkey” style, and the quick and deadly “snake” style — guess we’ll leave mantis-style aside for now.
The plot begins with a great prologue — coming after weird credit sequence — where we’re told about the evil Shao, a master of the snake-style kung fu, who travels the lands, imposing his mastery on others, hissing like a cobra while he fights.
One day he runs into another man, Khoo, who lives on the edge of a small town. Khoo is a master of the monkey-style of kung fu fighting, who beats him badly in their forest battle, leaping from tree to tree,.
Then he spares the snake-expert’s life, despite the snake-style master begging for death. Snake tells Monkey that he will regret this one day, and leaves, vowing vengeance for..uh… being allowed to live. Weird.
Now we’re in the future, where we see a hapless young peasant boy, Lung (John Chang) who works at a fish shop. We see how when he’s making his fish delivery to the local feudal lord Wan’s family, he’s bullied and beaten up and humiliated by Wan’s arrogant sons.
He yearns to learn the drunken-style of kung fu fighting from Ho, who is the head of a local martial arts school. Then, he’s taken away on a boat, and taught the moves he seeks to learn in secret.
When the peasant boy finally returns to the village and when his friend, Liang, who is learning drunken style from his master, Ho, beats the two bullies in a fight, their father is offended, and challenges his teacher, who is a master practitioner of the drunken-style of kung fu, and of course Ho the teacher easily beats them all.
Wan and the other noblemen in town hire two snake-style killers (Wilson Tong and Charlie Chan), one of whom is the Shao, the snake-style master from the prologue, previously beaten by the monkey-style fighter Khoo.
They attack Ho’s school, killing the teacher, and Liang is injured. They don’t hurt the peasant boy, who they consider to weak and unskilled to be worth taking his life.
Meanwhile, the peasant boy meets Khoo, the monkey-master from the prologue, who is now living in the same village as a hermit who befriends our hero, the peasant boy, who in the end, develops his own hybrid of the drunken and monkey fighting styles (not necessarily related to the true Drunken Monkey style) in an attempt to put down the snake killers.
The film’s final showdown battle is brutal, but one of the film’s most harrowing sequences is the truly vicious fight between an actual tethered monkey and an actual hissing snake, which is meant to illustrate how a powerful monkey can actually kill a poisonous snake with kung fu.