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As hard as it may be to believe, Joseph Kuo ‘s direction and Carter Wong’s performance made it possible to fit in the third installment to ‘Shaolin Bronze Men’ within the year of 1976. This was presumably done to get ahead of the competition with these two films. Although these two films share some actors aside from Wong, let alone a singular connecting storyline, they allude to the folk-legend stating that the Shaolin temple trained acolytes by engaging them in combat against warriors painted in bronze which is atroke of inspiration that connects them all. These warriors only make a very brief appearance during the such as in EIGHT MASTERS where they aid in the hero’s training. There was even a review online stating that these are simply recycling parts from the other movies, but because of the sheer brevity of these scenes, it supports the claim that Kuo or any other person in production thought the gimmick of ‘Bronze Men’ was outplayed long ago.
The gap within the psyche of Chu strengthened in regards to these two desires as competing constructs. These cousins were not satisfied with the life of Chu’s father, who got defeated by a kung-fu battle clan known as the Eight Masters. They wanted to extract vengeance on the son as well. To escape, the family friend abducts young Chu and intends to raise him at the Shaolin Temple. The Masters have no means of breaching the temple’s defenses and thus, lose interest and leave. Eventually, Ming Chu, the mother of Chu (who later on goes blind), receives assistance from the daughter of the family friend.
Little Chu matures into Big Chu (Carter Wong) who receives such impressive training from the monks that he can extinguish candles with his breath while standing several feet away. This might resemble dozens of other “you killed my father” chopsockies where the Shaolin religion is merely introduced to justify the hero’s thirst for revenge. However, Kuo and the other writers came up with a twist that is entirely new to me and is unlike any other Hong Kong medieval movie. The Shaolin monks become, in effect, Chu’s new fathers and their philosophy stresses that a proper Shaolin is supposed to keep aloof from confrontations even if they have trained themselves for self-protection. So after Chu leaves the temple and encounters some rowdies in a tavern for the first time, he attempts to not fight and almost gets beaten up until he finally unveils his overpowering skills.
The thrilling adventures of Chu continue in the second part of the story as he tries to reconnect with his blind mother. He also meets his mother’s desired bride for him: a young girl who has captured his heart. The family’s secrets and their lives get even more intense as Chu’s family members have been under constant surveillance from the eight masters. As expected of him, he fights back and faces more than the abundance of bullets and dynamite that he had previously. He gets to pay fo what he has done. His life is even more threatened as the villainous family kidnaps his mother’s, sending the vengeful hero into action. He gets much tougher foes that include eight more fighters, among them a woman. Chu gets to fight the sword wielding female challenger, and in all honesty, the fight was so exhilarating that it was much better than the grand finale. So, what is the finale? Chia Ling, the woman’s master, received forgiveness the hero while uncovering yet another masterine secret by lifting the demonic veil hiding the heroes family.
MASTERS seems to have an interesting angle revolving the character’s loyalty to his family and his training by the Shaolin monks, in which the protagonist is caught up in a mental struggle. Rather, the focus always seems to be on trying to garner sympathy towards the protagonist, but it gets to a point where Chu suffers internal injuries and becomes far more ridiculous than intended. Regardless, many kung-fu films lack the slightest hint of good script ideas, thus I would rate MASTERS on the fair end of the spectrum.
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