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| Behind the scenes with Shih Szu. |
DID an incident occur during the making of
this film, prompting those at
Shaw Brothers to bar their wuxia star
Shih Szu from doing any more action-oriented leads not long after? It's a question yet to be answered satisfactorily in my mind.
The fansite
Shaw Brothers Reloaded relates that sometime during '73-'74,
"she heavily injured her right arm during a movie shoot", resulting in her being restricted
"to play 'damsel-in-distress' roles only." Lady of the Law was put out in '75, but it's possible it was
completed in '74 and its release temporarily delayed; this happened with Shaw pictures once in a while, so this fits into
SBR's scenario. However, once I saw her in
The Proud Youth, a '78
"sleeper" from
Sun Chung, she was back doing a physical part, albeit a limited one in contrast to years past; based on this, any imposed ban wasn't a permanent one.
Regardless of how it came about, the notion is Szu was not happy with being treated like fragile china, as a result. Partly on advice from
Ti Lung, she would find action on some independent productions (like the '79
Massacre Survivor) until her Shaw contract expired in '80; from there, she did TV work in Taiwan until she left the entertainment industry in '87. Considering how
Fu Sheng's Shaw career got mucked up with his
"Black September" on-set accidents, Szu was wise to get out while she was still in one piece. This fact
alone makes Brother Fang relish all her movies now out on DVD
that much more, including
LotL, her
"swansong" to
Shaw wuxia films.
Aside from an interesting detour, the story is involved but fairly straightforward. Jiao Yaner (
Lo Lieh) is out to avenge the death of his father, the chief of
Yungtong Escorts after Chief Chen (
Yang Chi-ching) of rival
Wacheng Escorts had him killed in an elaborate scheme to become the main escort service (the ancestor to armored bank trucks) in the region, Chen skimming the coffers often while maintaining the facade of being an upright citizen. The younger Yaner only escaped death at the hands of Chen thanks to the intervention of
sifu Madam White Brows (
Ou-Yang Sha Fei) and her student, a little girl named Leng Rushuang. Chen was even brazen enough to go so far as to pledge to White Brows he'd
raise the orphaned Jiao to manhood. Because he felt the boy was traumatized by his father's fate, he didn't think there would be any retaliation from him; he thought he was getting a servant who constantly feared for his life: a plum arrangement, in Chen's eyes.
In reality, several years after the passing of his father, Yaner has been only biding his time, learning the
"Flaming Daggers" technique from a manual of his father's while he awaits the return of Rushuang, who promised to come see him again someday. One night, Chen's son (
Dean Shek Tien) watches him practice in secret; he tells his father, and he's upset that despite deliberately
not training Yaner in kung fu, he wound up doing it
on his own. (White Brow suggested he shouldn't train the boy if he showed any bad temper; of course, Chen sneakily agreed to this.) Yaner is not as dumb as he looks, after all; moreover, he's dangerous in relation to all of Chen's illicit interests. Still, at the moment, he's more worried about someone
else.
Rushuang (
Shih Szu) is now known in the martial arts world as the
"Lady of the Law", a vigilante who's partnered with the local authorities in the dispensing of justice. She is there in Ji County to help in the capture of a murdering rapist; as it turns out, the perpetrator is Chen's son. As they begin to feel the pressure of the investigation, Chen and his offspring (in an act that's so much
"killing two birds with one stone") frame Yaner for the crimes, the son planting the body of his latest victim (the concubine of Valley Head, played by
Chang Pei-shan) in Yaner's room.
Alas, once she sees where the corpse of the victim is, Rushuang is disappointed in Yaner, regretting she helped to save his life so long ago. Knowing she's not on his side (yet) and how he has
no chance as long as Chen tries to orchestrate a speedy execution for him, Yaner is compelled to escape. Rushuang and some constables begin the pursuit, with Chen and his
"demonseed" not far behind, hoping
they can get to Yaner first. Now, the last hope for Yaner being exonerated is in his finding Officer Yan Bixian (
Chan Shen), a witness who's being kept in protective custody at a nearby prison. Though the rapist blinded him with rocks and dirt in a desperate ploy to avoid capture (the night Rushuang arrived), he
can still identify the culprit by
his voice....
Writer and director
Shen Chiang is reunited with his three stars from
Heroes of Sung (1973), and he delivers a quirky but strong screenplay that suits them better than his haphazard one for the earlier film (save for the freaky
"splitting" finale that would be equally at home in a
"Venoms" movie). He and his co-director
Hsiao Yung do a marvelous job with the direction; Yung's parti-cipation may be the reason this picture is better structually, compared to Chiang's solo effort on
HoS. They put a lot stuff of into the running time of 86 minutes but not so much the result is like an overpacked can of sardines. Beyond the inevitable formula elements found in most Shaw wuxia films (trampolines, high leaps, and erratic wirework),
LotL has so much going for it, I don't even mind the
abrupt ending!
One of the more mindboggling performances I have ever seen from a Shaw actor is found here, courtesy of
Lo Lieh. His work in
King Boxer and
Clan of the White Lotus doesn't compare to his interpetation of this strangest of heroes. Yaner continually pretends he is
"shell-shocked", even a little mentally
slow, as he prepares to deal with Chen. At the same time, the story hints he has been literally waiting
years for Rushuang to come back to the point he (apparently) spent much of his spare time each day out on the street watching for her arrival in town. Not all this behavior feels like a charade; has he become obsessed over her riding to his rescue? Is she the
"trigger" to his proceeding with revenge? Lieh's acting job here is such that you find yourself wondering if he
has maintained his sanity all these years as a lowly helper for Chen; there's no doubt Chen and the people who work for him (also his son) have treated him like crap, so if Yaner has kept his wits intact all these years, then he's the equivalent of a
John McCain among indentured servants. Fighting or acting, Lieh managed to impress me in
LotL like he never has before.
Cheng Piang-shan is back to being a bad guy after being good in
HoS. (To look at the cover for the IVL DVD, you're inclined to think he's fighting crime with Szu and Lieh.) He plays an associate of Chen who happens to have
many wives, and when he loses his newest woman to the rapist, he wants
Rushuang to replace her. He figures into the
"detour" subplot where she has to deal with his sword-wielding
"harem" as she tries to track down Yaner. I'm more used to him as a villain, so he didn't fail to disappoint me (trademark
"cookie-eating grin" and all) as the secondary heavy.
Shih Szu does the
"Lady of the Law" reasonably straight. If she's not playing a
supercop in this, then she's a very persistant, savvy person who gives Chen or other troublemakers a reason to fear the wrath of her blades. Again, she breezes easily through portraying another wuxia heroine, which includes doing what stunts she did (which appears to be the majority of them). Then again, she always did a great job in her movies for Shaw, whether she did fighting or not.
In the end,
LotL is your typical above-average Shaw production that looks and plays better than some HK
"A" pictures of the '70s. The remastered film and audio on this DVD complement the original presentation; it's a movie that anyone who loves
Lo Lieh or
Shih Szu absolutely
needs to add to their collection.
Given a choice, I'll take
Lady of the Law over
She's the Sheriff any day!
Recommended by Brother Fang!
Keeping it trivial....
Fang Shih-yu, Shaolin Temple.
P.S. - Purchase it from
PlayAsia by clicking on
here.
