The Chinatown Kid (1977)

The Chinatown Kid (1977)
Chinese Title: 唐人街小子
Translation: Chinatown Kid

 

Starring: Alexander Fu Sheng, Sun Chien, Phillip Kwok Chun-Fung, Lo Meng, Jenny Tseng, Shirley Yu Sha-Li, Siu Yam-Yam, Johnny Wang Lung-Wei, Yang Chi-Ching, Wong Ching-Ho, Lu Ti, Chiang Nan, Yue Wing
Director: Chang Cheh
Action Director: Lee Ka-Ting, Robert Tai

 

Chang Cheh is generally known for his action-packed, blood-soaked tales of brotherhood, loyalty and male bonding. The vast majority of his movies feature handsome, athletic men leaving dozens of villains lying in pools of blood as they passionately shake hands before or after the carnage: one may rightfully believe that the male leads’ penises would be in heroic embraces with each other should the camera be focused on their lower regions. Once in a while, however, Chang Cheh would tackle other heavy themes in his movies. For example, New Shaolin Boxers examined a culture that would allow injustice to run rampant because nobody “wants any trouble.” In The Chinatown Kid, we have an examination of the question of choice and free will, and the consequences of exchanging one’s integrity for convenience.

The film focuses on two characters. The first is Yang Jianwen (Sun Chien, the Scorpion Venom), a young Taiwanese man who has just finished his mandatory military service. Yang wants to study abroad, and in order to afford entry and plane fare, takes on different jobs as a drafter, a tae kwon do instructor, and a tutor.  The other is Tang Dong (Alexander Fu Sheng, of Na Cha the Great and Five Shaolin Masters), a native of Mainland China who has illegally entered Hong Kong. Tang Dong is a kung fu expert, and uses his strength to make freshly squeezed orange juice for the locals. His natural talents call the attention of a local gangster, Xu Hao (Johnny Wang Lung-Wei, of Invincible Shaolin and The Martial Club). The two get into a kerfuffle over a gold watch and Xu Hao retaliates by framing Tang Dong for drug possession. At that point, Tang Dong’s only recourse is to flee Hong Kong to the United States.

Both men arrive in San Francisco Chinatown at about the same time, which does not make sense considering that one was travelling by plane and the other by boat. They end up working at a restaurant owned by a old friend of Yang’s fathers, played by Yang Chi-Ching of Vengeance! The restaurant is located on the territory of one of the local street gangs, led by Green Tiger (Lo Meng, the Toad Venom). Tang Dong gets in a fight with the Green Tigers after they try to extort money from Yang Jianwen. He wins the fight, but gets fired from his job. His antics, however, get the attention of White Dragon (Philip Kwok, the Lizard Venom), a rival gangster. Tang Dong is hired to be White Dragon’s bodyguard, while Yang Jianwen’s hectic schedule of school and work will put him on the road to drug addiction. When the former decides that he has had it with sacrificing his personal values, he’ll discover that turning one’s back on the criminal element is not as easy as it sounds.

The best thing that Chang Cheh does with this movie is establish contrasts between different characters. Much like New Shaolin Boxers, Fu Sheng plays something of a simpleton with good kung fu schools and an overdeveloped sense of justice. However, his bumpkin roots prevent him from seeing his new employer for what he is—at least initially—and by the time he tries to do something about it, more lives will be at stake rather than his own. We still feel sympathy for Tang Dong after he goes to work for White Dragon, because we as the viewer understand that he has been dealt a bad hand in life. Even when he means well, he ends up erring due to his naivete or lack of street knowledge.

On the other end we have Yang Jianwen, played effectively by newcomer Sun Chien. While not exactly rich, Yang does indeed have more opportunities than Tang Dong ever had. He has had a good education, a good work ethic, and a better overall view of what he wants from life. However, he too is subject to pressure and outside influences once he arrives in the States, and briefly succumbs to them. He is able to overcome them a lot sooner than Tang Dong does. Ironically, it is through Tang Dong that he kicks his habit before it develops into an addiction.

Another parallel to the New Shaolin Boxers is the romantic subplot between Fu Sheng’s Tang Dong and a young lady named Yvonne (played once again by Jenny Tseng, Fu Sheng’s real-life wife). Yvonne plays the daughter of a laundromat owner who is initially charmed by Tang Dong’s kindness and simplicity. Unfortunately, that story goes nowhere once Tang Dong’s “new life” steps into the spotlight. Making for a contrast with Yvonne is Lana (Shaw Brothers sex symbol Shirley Yu), the worldly and materialistic daughter of the restaurant owner (and White Dragon’s girlfriend). One represents the filial and chaste young lady that Chinese people would expect their heroines to be, while the other is the same slutty character she played in other movies. In this case, the corruption of the latter can be pinned on Western decadence, as it applies to either the young woman or the male criminals that turn around and exploit women for their own gain. Other contrasts include the thuggish Green Tiger with the more refined White Dragon.

While Chang Cheh was filming Marco Polo in the 1975, he had a falling out with choreographer Lau Kar-Leung, who walked off the set. Bereft of his trusty choreographer—Tong Gaai had moved on to other things by the end of 1974—Chang Cheh picked up a pair of Taiwanese action directors: Hsieh Hsing and Chen Hsin-I. They worked together until the beginning of 1977, when Chang Cheh made another switch. The new duo consisted of Lee Ka-Ting (best known in the west for Jean Claude Van-Damme’s Kickboxer) and Taiwanese Peking Opera graduate Robert Tai. Robert Tai’s classmates included Philip Kwok, Lu Feng and Chiang Sheng, who would go on to become known as Chang Cheh’s Venom Mob troupe. While the works of the Hsieh Hsing and Chen Hsin-I represented a continuation of Chang’s “Shaolin Cycle”, efforts like The Chinatown Kid and Naval Commandos acted as a transition into Chang’s “Venom Cycle.”

Robert Tai was at the beginning of his career at this point. Lee Ka-Ting had a little more experience, having choreographed a handful of martial arts films, such as He Walks Like a Tiger and the third-tier Shaw Brothers film Rivals of Kung Fu. Lee Ka-Ting did not have that much experience in choreographing shapes-oriented fighting, and it shows. The fights feel like they were choreographed three years earlier, although with a bit more technique on display than the worst of basher movies. Alexander Fu Sheng gets a good showcase for his althetic abilities, as does Sun Chien, the kicker of the Venom Mob. Lo Meng and Johnny Wang Lung-Wei also get to throw down with Fu Sheng. Philip Kwok does get into a few limited fights. None of the fights particularly stand out, although it is fun to watch so many future Venom Mob troupe members in action before The Five Deadly Venoms was produced.

While not one of Chang Cheh’s better movies—his best films struck a perfect balance between story and high-quality action—The Chinatown Kid makes for a fascinating example of a transition period for the director. The action is serviceable, to be sure. But the emphasis on character development does make it stick out from a lot of Chang’s movies. Alexander Fu Sheng puts in a strong performance and he gets ample support from the Venom Mob troupe. That alone makes it worth a visit.