Soon after the events of the attack, Hung Hze-Kwan flees to Canton where he marries the girl of his dreams (Lily Li), and the two have a baby boy named Wen-Ding (Hsiao Hou). In between being a family man, Hung Hze-Kwan begins his Tiger Syle training and practices it for 10 long years.

Thinking he’s ready to take on Pai Mei, he heads over to his temple and prepares for the ultimate battle. To make a long story short, Hung Hze-Kwan loses. However, he gains more knowledge about his weakness, and observes that you have to hit certain areas, at certain times, in order to defeat him.

I first saw Executioners From Shaolin about 20 years ago. It was the dubbed, panned & scanned VHS version. The film stayed fresh in my mind throughout the years, but what really stuck in my head was how it broke the usual kung fu film mold: intead of your typical ‘train, then take on the main bad guy and win’ routine, we get a ‘train, then take on the bad guy, lose, train again, take on the bad guy again, then uh oh...’ followed by -- ‘a different guy trains, with a different approach, then takes on the bad guy’... It’s a long and winding process, but you know what, it’s entertaining the whole way through.

I’m not sure if I can put the brilliance of Liu Chia-Liang’s filmmaking into words: You have the well-configured choreography, crazy techniques (what’s up with Pai Mei’s crotch hold?) and inventive training devices (I don’t know about you, but I never saw a training dummy filled with moving-metal balls in Black Belt Magazine) - not to mention slick production values - which is a norm for most Shaw Brothers flicks.

Then you have the pre-credit sequence... actually, no, it’s a fight scene that plays during the credit sequence. How cool is that? You get to see who’s in the movie while there’s some chunky action going on. James Bond flicks don’t give you that.

Lo Lei’s portrayal of the indestructible Pai Mei became such a popular villain amongst fans, that the character was resurrected various times, in some way or another, in a handful of films - most notably in Fist of the White Lotus (where he's called 'White Lotus'). Pai Mei even appears in Quentin Tarantino’s Kill Bill Vol. 2, where he's played by Gordon Liu.

If you’re looking for a straight up kung fu flick with no bullshit, it doesn’t get any better than this. Yeah, some people will say it’s slow, dull or whatever; only someone who owns the Criterion Collection DVD of Armageddon would be dumb enough to say something like that.

Executioners From Shaolin is a must see.

As the films opening credit sequence plays we see Pai Mei fighting the Shaolin temple's leader Chi San (Lee Hoi Sang). After a brief fight, Pai Mei kills the old priest. (I love these kinds of openings where its shot on a stage).

The story follows the old story of the Ching governments destruction of the Shaolin temple and the killing of its members lead by the evil traitor Pai Mei (the late great Lo Lieh). Pai Mei's wrath continues on the few survivors of the Shaolin temple massacre, and he sends his army out to find and execute them including the legendary Chinese folk hero Fong Sai-Yuk (which we dont see onscreen) and the anti-Ching fighter Tung Chin-Chin (36th Chamber of Shaolin's Gordon Liu). When the army finds Tung, they kill him in a very bloody and tragic way. You can see how much of a hero he really was from this sequence. Tung's best friend and fellow fighter Hung Hze-Kwan (Chen Kuan-Tai) and the rest of the Shaolin survivors decide to board some boats and they disguise themselves as a Chinese opera group. As they travel along but they have to battle the Manchu's whenever they show up and start trouble. The group finally reaches the Canton province and while there Hze Kwan meets a young beautiful performer named Yung Chun (Lily Li), whom he quickly falls in love with. Theres some funny sequences between Hze Kwan and Yung Chun as he tries to get her to open her legs. Her kung fu skills are so strong, Hze Kwan has a tough time trying to pry her legs apart. Finally Hze Kwan manages to win the little game and shortly after they get married and have a child.

Hze Kwan wants his revenge on Pai Mei and he begins to train in the ancient tiger style of kung fu. For ten long years Hze Kwan perfects his skills for the big battle. Hze Kwan travels to Pai Meis temple where the White Lotus Clan are staying. He climbs the legendary100 steps to the top and he begins to fight against Pai Mei's guards and finally gets to Pai Mei's own doorstep to challenge him to a fight. Quickly Hze Kwan realizes he cant beat ol Pai Mei and he retreats before getting his ass handed to him by the old white haired killer.

Hze-Kwan returns to his home once again and begins to practice on a large steel dummy thats filled with ballbearings. As Hze Kwan hits the large dummy, the ballbearings roll out and he tries to snatch them as fast as possible before they hit the ground to better his speed in fighting. This dummy sequence is another cool thing to watch. You will see many sequences like this in Mandarin kung fu films where the heroes of the story will use these bizarre training techniques to better themselves. Hey, I love this stuff! Hze Kwan returns to the White Lotus temple once again to battle Pai Mei, but he gets totally wrecked,especially when he tries to kick Pai Mei in the nuts. It seems that Pai Mei has learned a special trick to suck his nuts into his stomach, so the chances of knocking him out in that area is zero. When Hze Kwans foot meets Pai Mei's groin, Pai Mei uses his legs as a clamp and drags Hze Kwan around the room awhile. The result is deadly.

Back home, Hze-Kwan's son Wen-Ding (Hsiao Hou) is now older and he swears to get his revenge for his fathers cruel death. The only problem is that Wen-Ding only has learned his mother's simple crane technique. Seeing her son needs more help with his training, Yung Chun tells Wen Ding about an old kung fu book Hze Kwan had kept. The book is severely damaged so Wen Ding tries to improvise the kung fu techniques he cant see illustrated in the book. When Wen Ding learns the skills he needs to know, he travels to the White Lotus temple and begins to take on Pai Mei's guards, making his way to the main man himself. Wen Ding and Pai Mei have a very intense kung fu battle and the end of the film is unrelenting as Wen Ding literally rips Pai Mei's head off. If you like Executioners From Shaolin, Cult Clash also reccomends the follow up called "Fists of The White Lotus".

THE FINAL WORD: Executioners From Shaolin is one of my all time favorite kung fu films. The performance by Lo Lieh as the evil monk Pai Mei is just awesome. Hes so ruthless and badass in this film, he totally goes all out for this role in his acting style and his martial arts performances.

REVIEW:
Where most films about Shaolin characters are more about Shaolin than people, Liu has put a lot of work into characters. Still, I personally find the movie a bit dull, and the final fight ends ridiculously, with Hung's son punching the hermit, then a freeze-frame, and a narrator going, "And eventually, he was victorious."

"The Manchurian Court, having learned that the rebels were using the Shaolin Temple as a cover for their activities, ordered Priest Bak Mei to lead a raid upon the temple. Bak Mei’s men surrounded the temple and set fire to it. In a bid to save his disciples, Priest Chi San of the Shaolin Temple engaged Priest Bak Mei in a duel to the death." This is the opening narration which opens the film. Bak Mei the Shaolin traitor is shown battling Chi San during the opening credit sequence, until Chi San is killed.

Following the burning of the Shaolin Temple, Hung Sze Kuan (Chen Kuan Tai) and his brothers run for their lives across the hills of old China. Bak Mei’s forces hides in the lush greenery, waiting to pounce on the Shaolin and snuff them out completely. The soldiers surprise the fleeing rebels, and slaughter every man they see. Only Hung and his ally Brother Tong (Gordon Liu) stand up to Bak Mei’s army. Brother Tong finally gets speared in the lower half of his torso, and yells at Hung to escape and get revenge for the death of their master, Chi San. Brother Tong’s suicidal last attack against the soldiers provides enough distraction for Hung to escape. The white bearded Bak Mei (Lo Lieh) orders his soldiers to hunt down and kill Hung, the last remaining Shaolin warrior. The remaining rebels takes refuge among a traveling troop of entertainers and performance artists. They travel from port to port in giant ships called Red Boats. During one such stop, Hung meets hot headed Yung Chun (Lily Li) who has mastered Crane-style Kung Fu. She challenges the performance artists to a friendly duel, which she quickly dominates. Hung seeks to put her in her place and takes up her challenge. He pits his Tiger style against her Crane forms, and he comes up victorious. Impressed, she takes notice of him. He invites her and her uncle (Shen Lao) to join them on their mission of freedom on the Red Boats. Time passes, and Hung and Yung Chun fall in love and are soon engaged. The other rebels, including Hung’s close friend Hsiao Hu (Cheng Kang-Yeh), constantly tease him until they are married.

Bak Mei eventually discovers the Red Boats are sheltering rebels. He orders his men to destroy them. The soldiers make their way down to the shore and set the boats on fire. Hung orders everyone to abandon the boats and hide. Hung goes into hiding and turns his attentions to improving his already-formidable martial arts skills, in preparation for the day he will eventually face Bak Mei. Hung and his wife have also produced their first child, a son named Wen Ding. Yung Chun offers to teach her husband the Crane style, which she insists can take out Bak Mei. He seems interested until she states it will take 10 years to learn, which he cannot wait. So she decides to train their son instead. By the kid’s 10 birthday, he’s the toughest boy in the village. Hung decides that the time is right, kisses his family good-bye, and sets out for Bak Mei’s palace. Hung plows through the guards like a martial arts whirlwind, but is quickly trounced by his enemy Bak Mei, who professes near invulnerability. All of Hung’s years of training don’t cut it against his opponent, who claims to have only one weak spot. Hung recalls his wife voice telling him to escape if he gets the chance. As Hung rolls down the long flight of stone steps outside the castle, the white -haired villain sends a huge object hurtling after him. This heavy object overtakes Hung and threatens to crush him. Suddenly, Hung’s friend Hsiao Hu appears and uses his body to stop the falling object. Hsiao Hu’s body is crushed upon impact. Hung thanks his ally and promises to avenge him—then he escapes. Young Wen Ding is crushed when he learns Hsiao Hu (a man who has been like family to him) is dead.

Years later, Wen Ding is 18 years old (and now played by Wang Yu) and a full fledged master of Crane style, having practiced it for most of his life. Hung Tze Kuan once again believes he can determine Bak Mei’s weak spot. He trains harder than ever in preparation of their final battle. Wen Ding is concerned his middle-aged father is not able to get the job done. He pressures his father so that he too, can come along. Hung forbids it, which sparks off negative vibes between the two. Wen Ding gets carried away and actually ends up fighting his own father. Eventually, Hung talks sense to his son about justice and keeping one’s word. Hung once again leaves to fight Bak Mei with the approval of his wife and son. Like their last meeting years earlier, Bak Mei welcomes Hung to try again. Hung clearly outperforms his opponent and things look good for him, until he tries to locate his enemy’s Achilles heel. During their battle, Hung gambles that the weak spot is his genitals, and kicks him there hard. Amazingly, Bak Mei laughs and actually reacts by applying a painful hold on Hung’s leg using his groin muscles! Bak Mei divulges that his weak spot is mobile, meaning that its never in the same place at the same time. Hung is so startled by this revelation that he is distracted, and Bak Mei delivers the killing blow. When Hung fails to return home, Wen Ding demands his mother to prepare him to face Bak Mei. They study up on ways to beat those with invulnerability. Eventually, Wen Ding is confident he can succeed where his father failed, and heads for Bak Mei's palace for the final showdown...

Despite the exploitative title, EXECUTIONER OF SHAOLIN is more of a dramatic character study and less of a martial arts slaughter-fest. A more appropriate title would probably be THE LIFE AND TIMES OF THE HUNG SZE KUAN FAMILY. A good portion of the film chronicles the relationship between Hung Tze Kuan and his wife and son. The entire revenge sub-plot takes a back seat to this character development. The son bonds with his mother through her teaching of the martial arts, but something appears to be missing between Wen Ding and his father. Perhaps it was that Hung Sze Kuan was so preoccupied with advancing his martial arts skills (for the purpose of revenge) for all those years, that he neglected his son. In the last act, Wen Ding challenges his father and eventually earns some respect from him. Then when Hung decides to return to challenge Bak Mei for the last time (realizing he may not make it back), Hung finally reaches out to his son, and shares his wisdom. As you would probably expect, all this character development allows for some wonderful acting potential, and I’m happy to report that the cast succeeds on this level. Liu Chia-Liang wanted soap opera exposition between the fight scenes and he got ‘em.

This is a breakthrough performance for Chen Kuan Tai. We’ve seen his movies before where he loses his family at the hands of some evil-doers (THE FLYING GUILLOTINE or IRON MONKEY for instance) and vengeance quickly changes him into an unemotional Kung Fu killer who takes revenge in a very stoic manner. Cool yes, but also very one-dimensional. In EXECUTIONER OF SHAOLIN, we see the kick-ass side of Chen Kuan Tai, but we also get to see him do things we’ve never seen from him before, like bond with his son. We also see him plagued with self-doubt, show vulnerability, and deal with sorrow. Chen Kuan Tai rises to the acting challenges given to him, and it’s a crime they don’t give out awards for martial arts films, because he should have secured some kind of statue as this is the best acted performance in a martial arts film from 1977. It’s interesting to note that Chen Kuan Tai tapped into the father-son relationship again (this time with Lu Feng) in RETURN OF THE DEADLY VENOMS, but in a more dark and twisted way. Lily Li’s acclaimed fighting skills don’t come into play too often in EXECUTIONER FROM SHAOLIN, except in the training scenes. She does have a huge presence in the film, however, and comes through with emotions rather than violence. This is one of the better performances from the beautiful and graceful Ms. (Mrs.?) Li, surpassing even her key role in SHAOLIN MANTIS (though in that movie she fought a lot more).

The only character who is truly one-dimensional is Bak Mei, but the marvelous Lo Lieh manages to put forth one of the best villain roles of his career. Nobody has done more bad guys than Lo Lieh, so saying that Bak Mei is his best goes to show you how potent he is in EXECUTIONERS OF DEATH. They say that a Kung Fu movie is only as good as its villain, and assuming that’s true then even if the movie sucked, Lo Lieh’s performance would be reason enough for you to see it. Young Wang Yue comes in late in the film, and is probably the weakest link in the cast if there is one. Let’s not forget the direction of Liu Chia-Liang. He balances well the storytelling, characterization, and levity in EXECUTIONER OF SHAOLIN, and hints at his genius to come (THE MASTER KILLER, INVINCIBLE POLE FIGHTER, SHAOLIN CHALLENGES NINJA). The only weaknesses in his direction are lapses in the pacing and continuity to accommodate the drama. Kung Fu fans with short attention spans will no doubt cry foul with these pacing problems, but enlightened viewers looking for something above and beyond the norm will surely appreciate EXECUTIONERS OF DEATH. One other criticism about the movie is the abrupt ending. Lo Lieh and Wang Yue never conclude their final fight. Wang Yue goes to deliver the killing blow, and the screen pauses with a narrator announcing "A combination of Tiger and Crane is what finally killed Bak Mei". Maybe there is some hidden meaning there known only to Chinese folks—let me know if I’m correct. Oh, by the way, did I mention the great martial arts choreography effort put forth by Liu Chia-Liang and the cast?