The authentic martial arts of Sammo Hung’s kung fu comedies The Prodigal Son and The Magnificent Butcher is some of the best ever filmed, if you look beyond the fun
- Sammo Hung loved to mix kung fu and comedy; The Prodigal Son’s fight scenes feature authentic wing chun and Lam Ching-ying and Yuen Biao shine as the leads
- The Magnificent Butcher showcased ‘old-school kung fu at its very best’, and saw the big-screen return of legendary martial arts actor Kwan Tak-hing
Mixing comedy and kung fu – humour and violence – could be considered a strange idea, and some kung fu comedies work better than others.
Still, Hong Kong cinema is all about exploiting trends, and the kung fu comedy genre’s box-office appeal in the late 1970s and early 1980s was so strong that the inclusion of some jokey scenes almost became de rigueur, especially for Hung.
‘Very cheap pay’: Hong Kong martial arts movie stars on life at Shaw studio
“The juxtaposition of comedy and action is a trademark of Sammo Hung’s period films,” says Frank Djeng, who contributed the narration to Eureka Entertainment’s Blu-ray release of The Prodigal Son.
“Hung wanted to make sure that audiences from both ends of the spectrum – those who went to see his films for the comedy, and those who went to see them for the action – would be satisfied. He wanted to cover a wide demographic to ensure box-office success,” Djeng says.
The Prodigal Son
The Prodigal Son, which stars Yuen Biao and Lam Ching-ying, and features Hung in an extended cameo role, is much loved for its action but less praised for its clumsy humour. The film focuses on the wing chun form of kung fu, and the lead characters riff on real-life wing chun masters Leung Jan, Leung Yee-tai and Wong Wa-po.
The storyline features Yuen as Leung Jan, who is portrayed as a martial artist who’s led to believe he’s more skilful than he is. When Leung discovers the truth about himself, he trains with Beijing Opera star Leung Yee-tai (Lam) and martial arts teacher Wong Wa-po (Hung) to become an expert in wing chun.
The combat scenes, which feature authentic wing chun, are memorable, as is a long training sequence in which Hung trains Yuen.
The film is notable because it puts Lam Ching-ying and Yuen Biao in starring roles. Lam, who later found fame in the Mr Vampire series, was considered a supporting talent, and Yuen, who was intended for stardom, was ultimately given few opportunities to shine as a leading man. The Prodigal Son shows both of them at their best.
“Yuen really outshone himself as Leung Jan, and appeared in almost every scene of this long – 100-plus minutes – film, switching effortlessly between comedy and drama, and demonstrating his acrobatic agility,” Djeng says.
Sammo Hung film launched a genre and made him a player
The Prodigal Son continues that, featuring great demonstrations of the style in the fights with Lam and Yuen and an expert guide to its techniques in the lessons given by Hung.
“The Prodigal Son is one of the most authentic wing chun films ever made,” says Djeng, who has trained in the style. “When Hung made Warriors Two, he tried to make the wing chun as authentic as possible, and hired a real wing chun master to be a consultant. But due to time constraints, Hung was only able to have a few weeks’ guidance from the sifu. He felt there was more he could say about wing chun, and The Prodigal Son was the result.”
The Magnificent Butcher
The plot is messy, revolving around a murderer portrayed by Fung Hak-on, and the brutality and the comedy are an unsatisfactory mix. But the martial arts scenes are superlative, and combine Hung’s down-to-earth choreography with Yuen’s acrobatic northern-style approach to martial arts.
“That was Kwan’s first time playing Wong on the small screen, and he did his own stunts. His over-the-top, theatre-like performance, together with the choreography by [Yuen Woo-ping’s father] Simon Yuen Siu-tin, made the television series very popular,” says Djeng.
“So having Kwan play Wong Fei-hung in The Magnificent Butcher was a logical choice.”
One of the film’s highlights is its depiction of Wong Fei-hung’s skill at calligraphy, which combined movements used for drawing with those of kung fu. “Timing and creativity are the best things about the calligraphy battle, although there are too many shots of Kwan being doubled by a stuntman,” says Djeng, who notes that the other fights in the film “represent old-school kung fu at its very best”.
The Beggar So character was supposed to be played by Simon Yuen, who had portrayed him in Snake in The Eagle’s Shadow and Drunken Master. But he died of a heart attack during filming. “It was believed that Simon Yuen’s absence was one of the reasons the film didn’t do so well at the box office, compared to Yuen Woo-ping’s earlier successes,” says Djeng.