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1990: A Chinese Ghost
Story 2 (producer)
Tax collector Ning
(Leslie Cheung) is unfairly arrested. He manages to escape from jail and meets a young
woman (Joey Wong) who looks like the ghosts he once fell for (from A Chinese Ghost
Story part 1).
This sequel is more spectacular and over-the-top than the first instalment. It has,
however, lost its romantic atmosphere. The film was shot during the Tienanmen Square
events, and the sense of humour is generally darker and more cynical.
1990: The Raid
(producer)
In the thirties, a doctor helps rebels to destroy a Japanese chemical weapon factory.
This Indiana John's style story is obviously inspired from a comic book. Drawings are
indeed used to switch from a sequence to another. Kind of entertaining but nothing
fantastic about it.
1990: The Master (director,
producer)
A Chinese young man (Jet Li) goes to Los Angeles to visits his master. When he arrives he
discovers, unfortunately, that his master's store has been wrecked.
The Master was released in 1992 but produced in 1990 in order to take advantage of
the Once Upon A Time In China success, this movie is a total disappointment. Jet Li
was injured and didn't do well at all. Tsui Hark didn't manage to make the American
supporting role acting believable enough. He has, however, experimented some of his themes
for his next movie, with a Chinese female Lawyer, for instance, who would corresponds to
Aunt Yee in Once Upon A Time In China. Photography and music are bad as well in
this film.
1991: Once Upon A Time In
China (director, producer)
Doctor Wong Fei Hung (Jet Li) is the chief of the local Black Flag militia , and he gets
involved in conflicts between Chinese people, westerner and triads.
To remake
a legendary Chinese hero portrayed in about 100 movies is a bold bet that Tsui Hark
managed however to win. The director revitalised the hero (who appears young now), he put
him in a political background. Tsui hark didn't take Wong Fei Hung's story as the unique
bare bones of the movie but as one of the bones of the plot. He multiplied the numbers or
supporting roles (Yuen Biao's character for a start) and stories. This is more a kind of
chronicles of the era than only a film about martial artist Wong Fei Hung. The result is
splendid and this is one of Tsui Hark's best movies, with for instance, the anthology
action sequences on ladders.
1991: King Of Chess
(director, producer)
This movie, divided into two parts, tells firstly the story of a young chess player (Tony
Leung Kar Fai) who has to deal with the communists in the 60's, and secondly it tells the
story of a great chess player in modern Taiwan.
King Of Chess directed by Yim Ho was originally supposed to deal with the Cultural
Revolution in China. But the open communist tone bothered Tsui Hark. He decided then to
take control of the film direction. He used the material shot by Yim Ho to create
flashbacks and he developed a contemporary story taking place in Taiwan. The main asset of
the movie is therefore the vision on two eras in the Chinese history and two different
political systems. The directors denounce shortcomings from both eras. Unfortunately,
critics on the two eras are heavy and the story pattern lacks of subtlety. This movie
isn't a total achievement but it is however one of the rare depictions of the present-day
Chinese society by Tsui Hark.
1991: A Chinese Ghost
Story 3 (producer)
After 100 years of tranquillity, Lau Lau and his ghostly women haunt the Lan Ro temple
again. A young and naive monk travelling with his old master finally meets the evil
things.
After the excess of the first sequel , the third instalment tends to come back to formula
that made A Chinese Ghost Story part 1 famous. The two movies are very similar and
made critics assumed that this one was made by Ching Siu Tung to prove that he was good
director enough to shoot a movie without the help of Tsui Hark. If it's true, this movie
proves at least the difficulties of Ching Siu Tung to direct scenes other than action
sequences. The result is however very entertaining to watch compared to the various
Ghost-and-Kung-Fu stories flourishing at this time in HK. A good cast, solid special
effects and beautiful costumes are a plus. It has as well this libertine tone and even an
erotic touch that avoid the audience to fall asleep as usual in front of sequels.
1991: The Banquet
(director)
An unworthy son tries to use his father to get some money.
This light comedy isn't very interesting. It was primarily shot in order to get some funds
for the flood victims in China. The main asset of such movie is its casting, since nearly
all the stars and supporting roles from HK are there! The game is to recognise each star
appearing on screen. A pleasant scene is when the old king of 70's and 80's non-sensical
movies Michael Hui shares a piece of chicken with Stephen Chow, the king of the new comic
generation. Let's bet that Tsui Hark has probably something to do with this!
1992: Swordsman 2
(non-credited director, producer)
Fox (Jet Li) and Kiddo (Michelle Reis) are back home with the Highlanders. Ying (Rosamund
Kwan) has disappeared but their companions are still there. Fox decides to search for Ying
and to fight Asia the Invisible who has abducted Ying's father.
This movie is a perfect show off for the Film
Workshop Company: it mixes an incredible cast, crazy fight scenes, ideas that you could
never have in your maddest dreams, a wonderful music score, good special effects and pure
poetry that balances frenetic action. Everything is there to make this movie a wonderful
experience. But as usual it's hard to guess what part Tsui Hark took in the making of the
movie. If the action sequences are undoubtedly shot by Ching Siu Tung, love relationships,
romantic scenes and the sense of humour makes is very much like Tsui Hark's. Anyway, the
Dream Team (Tsui hark & Ching Siu Tung) get us to travel beyond imagination. It's a
piece of pure cinema.
1992: Once Upon A Time In
China 2 (director, producer)
Wong Fei Hung (Jet Li) goes to Canton with Aunt Yee (Rosamund Kwan) and Fu (Max Mok) to
take part to a medical congress. But the inhabitants are bullied by a violent sect called
the White Lotus sect which main goal is to kick foreigners out of China.
Sequels are usually equal to the mere commercial
exploitation of an original idea. It's is not the case here. Whilst putting the Chinese
hero in a darker atmosphere, Tsui Hark carries on developing his ideas on the legendary
Wong Fei Hung and his time. This sequel is another great achievement, but it has divided
fans. Some prefer this one for it's brilliant fight sequences and it's darker tone, others
prefer the first instalment qualities. It's a matter of taste…
1992: Twin Dragons
(director)
In the sixties, two twin brothers (both portrayed by Jackie Chan) separated after birth,
grow up in two distinct social contexts. The first one is raised in Canada by rich parents
and becomes an acclaimed musician, the second one raised by a prostitute has become a
streetwise boy. Both meet in HK where confusions and hilarity will ensue from their
physical similarities.
Tsui Hark let the official credited director Ringo Lam take care of the action scenes.
Tsui Hark is in fact involved and interested in developing the comical dimension of the
movie by offering Jackie Chan richer and more interesting situations than usual to show
his comedian skills. The Tsui Hark/ Lam cocktail works but it remains an amusing movie
above all.
1992: Wicked City
(producer)
Two cops of the underworld (Jacky Cheung & Leon Lai) fight against dangerous evil
monsters capable of taking human shape. They prevent them to invade the world.
Another film from Tsui Hark dealing with pure sciences fictions themes and it's
unfortunately another failure.
1992: New Dragon Gate Inn
(non credited director, producer)
In order to get the power, Eunuch Tsao Chu (Donnie Yen) kills the Imperial Minister Yu
Chien and uses his children as bait to trap their uncle (Tony Leung Kar Fai) and to avoid
him to take revenge.
After his collaboration with director King Hu failed on Swordsman, Tsui Hark pays
his tribute to the master with the remake of King Hu's Dragon Gate Inn. This film
is a must seen with its wonderful photography, a tremendous female cast (Maggie Cheung Vs
Brigitte Lin) and brilliant fight choreography by Ching Siu Tung. Once again, it's not
easy to get to know what was Tsui Hark implications in the making of the movie, but the
style and the standard are definitively Film Workshop's.
1993: Swordsman 3: The
East Is Red (producer)
Back in the world of martial arts, Asia (Brigitte Lin, who plays a male and female role!)
realises that numerous impostors want to take his seat. He then decides to fight them in
order to be the only master in the world of martial arts.
This movie has suffered from a bad reputation, mainly because of
its too hysterical editing. This movie is actually the same type of Wu Xia Pian as the
first two instalments. If it's still less interesting than the other episodes, The East
Is Red suffers from Ching Siu Tung's taste for B movie. Mad visuals and ideas such as
a flying swordfish, ninjas tied to kites to fly, dwarf samurais, flying ships battles and
so on, contribute to make it "special"… Very entertaining indeed, but the
noble and tragic spirit from the first two instalments has disappeared.
1993: Once Upon A Time In
China 3 (director, producer)
Wong Fei Hung (Jet Li) visits his father in Beijing with Aunt Yee (Rosamund Kwan) and Fu
(Max Mok). There, the Kung Fu master and patrician has to take part to a Lion Dance
competition in order to elude a plot from local politicians.
Underestimated
by the Anglo-Saxon audience for its supposed lack of pace, this third instalment is a new
departure from the first two movies. Taking a break from crazy action scenes, Tsui Hark
focus more on the couple Wong/ Aunt Yee, develops his reflection on cinema by introducing
a camera within the movie, and deals with Chinese traditions such as the Lion Dance. Even
if Fei Hung doesn't fight a worthy enemy, and even though the kung fu scenes are less
realistic, but still breathtaking and hysterical, a wonderful character emerges from all
this. Clubfoot (Hung Yan Yan) is a humiliated fighter who put his tremendous kicking
skills at Fei Hung's service. Far to get exhausted, the Once Upon A Time In China
saga has matured thanks to this new episode.
1993: The Magic Crane
(producer)
The Martial Art
world clans gather to prevent another clan to get the power. A kind-hearted young man
(Tony Leung Chiu Wai) goes to the clan meeting with his master, and he meets, on his way,
a woman riding a giant crane (Anita Mui).
This movie uses the successful formula established by the Swordsman saga. The
magical aspect is, however, increased. The main ingredients of this movie are a magic
crane, flying beings, giant turtles, music instruments used as weapons. All this makes it
look like a fantasy tale rather than a Wu Xia Pian (Chinese chivalry movie). The
film plot is from one of Tsui Hark favourite ideas: two women fight each other and soon
the one incarnating the good turns bad, and the evil-ish one (Rosamund Kwan) ends up being
rather nice. Despite good ideas, ambitious visuals, a good cast and richness of subtexts,
the film isn't 100% convincing. Probably because Benny Chan's direction cannot put
together scenes in between action sequences. He's not able, unfortunately, to shot tragic
and touching scenes like the ones opposing Brigitte Lin and Jet Li in Swordsman 2.
1993: Iron Monkey
(producer)
A masked hero called Iron Monkey (Yu Rong Kwong) steals rich people in order to help the
poor. Corrupted officials don't hesitate to abduct the young Wong Fei Hung (Tsang Sze Man)
to get his father (Donnie Yen) to arrest the Iron Monkey.
Funny enough, this movie as been compared to Robin Hood,
probably because the Iron Monkey steals the rich to give to the poor. The masked hero
reminds, however, more of Spanish hero Zorro, because of the fat local police chief (a
real Sergeant Garcia, a kind-hearted baddy) who has good relationship with the local
patrician (the real masked hero). Anyway, Iron Monkey is a brilliant revival of the
Kung Fu movies. If the results is much less ambitious than the Once Upon A Time in
China saga, it is still well entertaining, and it mixes brilliant action sequences,
choreographed by Yuen Woo Ping, with pure comedy sequences, but still avoiding an heavy
and non-sensical sense of humour. Despite its qualities, Iron Monkey was
unfortunately a flop at the HK box office.
1993: Once Upon A Time In
China 4 (producer)
Having just won a Lion Dance competition, Wong Fei Hung (Chiu Man Chuck, or sometimes
called Zhao Wen Zhou) has to compete again, this time to fight against the sovereignty of
eight foreign countries.
Tsui Hark's only produced this one and left the direction of the fourth instalment of the
mythic saga to action choreographer Yuen Bun, and he hires Chiu Man Chuck to play Jet Li
former role as the martial artist and patrician Fei Hung. The saga has a new objective of
commercial entertainment, and it loses its political subtexts ambitions. Fights are even
more over the top, there is even a sense of adventure, but the overall brilliant spirit
from the first three episodes is definitively gone.
This movie has surprised critics when it came out. It was judged
too speed, too complicated and out-of-reach for a western audience. With the habit of
watching high paced films from HK, it's now easier to watch Swordsman. It has
however probably suffered from production problems, and the second part of the film is
slower. Moreover, several directors where hired and fired to make this movie (King Hu, Ann
Hui…). Swordsman has, nevertheless, a wonderful aesthetic and a great music.
This key movie has brought the Wu Xia Pian genre (Chinese chivalry genre) back to local
theatres.
1990: Spy
Games (producer)