REVIEW:
Sammo Hung could do no wrong in the early eighties and The Victim is further proof of this. The triple threat of knockout kung fu, humor, and a stellar cast is nearly unbeatable.

Sammo plays Chan Wing, a young man looking for a master to teach him kung fu. He meets Lung Chung Yao (Leung Kar Yan), a kung fu expert and tries in vain to get him to be his master. But Lung wants nothing to do with the well-meaning, yet stubborn man. After a series of humorous encounters where Lung attempts to shake off this persistent and portly fellow, Lung's former martial brothers come looking for him and they're not happy. Chan Wing gets Lung's wife to explain that the two eloped after their kung fu master's son attempted to rape the girl. When word arrives that the master has fallen ill, the two return to the school. The master dies and the son, who is played by Chang Yi forces the girl into choosing him as her companion after Lung is nearly beaten to death. Sadly, the girl ends her life out of despair and Lung's already rocky relationship with Chan Wing takes a dramatic turn for the worse. Will justice still be served? You'll have to watch it for yourself to find out.

Excellent kung fu action abounds in The Victim. Sammo is known for his more realistic and hard-hitting choreography for Golden Harvest, certainly unique among the stagier Shaw Brothers and independent studio efforts of the day. For martial arts excellence, this rates up with his other hits such as The Prodigal Son (1982) and Knockabout (1979). The story meanders a bit with some uneven and painlessly obvious gaps in sound judgment on the part of the lead characters, but its more than tolerable thanks to the choreography. The action only intensifies as the film goes and the actors and stuntmen seem to be putting in an extra effort.

First, there is Leung Kar Yan who is not a martial artist by trade. But, you'd never know that by the way he bounds around kicking and thrusting his fists with seemingly practiced precision. This is one of his best action roles bar none and his final fight with Chang Yi is viciously spectacular. Being good friends with Sammo off camera, Leung also knows how to play off his co-star's comedic performance. Sammo also performs well, especially in a display of his mastery of the 3-section staff. Yet, this film is more of a showcase for his directing talents. He uses some great techniques you rarely see in this genre such as shifting the audiences' focus from one incidental character to the next simply to introduce Leung's character. The bathhouse fight is a humorous highlight where a bunch of stark-naked men showing more cheek than usual get knocked around by a nearly naked and shameless Sammo.

One of the unsung heroes of the film is Yuen Biao who assisted his pal Sammo in the choreography and also doubled several fighters including Leung. For fans, his acrobatics are unmistakable and incredibly deft. A welcome appearance by Wilson Tong two-thirds into the film only adds to the talent pool. His fancy footwork opposite Leung is marvelous.

In addition to some humor that might go unappreciated by Western audiences, there are a few scenes near the end that threaten to derail the film. This includes a series of poorly edited flashbacks and one completely out of place scene where Sammo appears as Dracula to scare away kung fu students who are burying the body of Lung's girl. Thankfully, Sammo's skills at recovery are as good as his action direction and the film rambles on unperturbed. And when all is said and done, The Victim is simply a killer of a kung fu flick with uncompromising action and its highly recommended.

Sammo plays Chan Wing who spends his time challenging kung fu masters in the hope that he will find one good enough to teach him. Chan Wing is undefeated, and therefore masterless, until he bumps into Leung Cheung Yow (Leung Kar Yan) who, after being challenged, gives him a good thrashing. However Leung refuses to take Chan as his student as he has more important things to worry about, like being on the run from his powerful adopted brother who tried to rape his wife. He therefore finds Chan's persistent nagging a bit of an annoyance. After Chan is instrumental in aiding his 'masters' escape from another attack, Leung finally agrees to teach him kung fu. However there is treachery afoot and a couple of surprises in store before the film reaches its spectacular climax.

The film features a good intriguing plot and a strong cast who all put in excellent performances. The early part of the film relies heavily on comedy and there are some excellently entertaining scenes such as a naked bath house fight where Sammo uses a wet towel to flick at his assailants' sensitive bits.

The light mood of the first hour fades in the final thirty minutes as the film becomes much darker for the extended climax which sees Leung take the battle directly to his brother. In this final segment there's a stunning cameo appearance from Wilson Tong, who earned the nickname 'The Foot Doctor' after this movie, as a hired killer. The fight contains some superb and rather unique techniques, especially in the sequence which focusses entirely on the fighter's feet. This is immediately followed by a scene reminiscent of the ending of 'Thundering Mantis' and sees Leung battle a whole gang of his brother's henchmen. Finally Leung faces his brother, played superbly by Chang Yi.

Along the way to the fantastic finale we get a superb staff fight where Leung Kar Yan fights multiple attackers at the same time and Sammo does his wonderful sword and three sectioned staff routines. The fighting throughout the film is intricate and fast with a well defined rythmn that holds your attention. Definately one of the best old school movies ever made and proof that you dont need a big budget to make a good film...

The interesting storyline follows a hapless drifter (Sammo) who travels around looking for someone who is good enough to be his master. His various encounters with the fighters he meets leaves this mission unfinished and the likely candidates clearly lacking. The devoted student finally meets an accomplished master (Leung Kar Yan) who proves himself worthy of this unusual 'privilege'. The unimpressed master has no intention of taking Sammo has his disciple though and therefore concentrates his time on trying to rid himself of this new friend. His attitude changes when this young obsessive becomes embroiled in the various family intrigues that the master had hoped to keep hidden. To this end, Sammo learns how his reluctant teacher has become the victim of a vendetta by his jealous brother and he has been on the run ever since. Recent incidents mean that the running must finally end and both fighters must finally face their on-coming enemy's hordes.

'The Victim' is a fine mixture of action comedy and even drama - three elements that director Sammo Hung juggles with masterful dexterity. This aforementioned action is supremely designed with Leung Kar Yan given one of his very finest opportunities to shine. In battles where he is hopelessly outnumbered or against supervillains Wilson Tong and Chang Yi, Leung Kar Yan is every bit the powerful screen hero that his reputation implies. His dramatic performance increases with intensity as the storyline progresses; these elements alone make the film a firm favourite among fans and critics alike. It's sometimes forgotten that the kung-fu genre contained some good actors as well as impressive physical performers and here Leung Kar Yan gives strong proof of this. 'The Victim' does falter at times though as the change from comedy to drama can appear more sudden than usual. There is also the fact that the closing twists happen in such succession that they tend to undermine each other. Nonetheless, the film should be appreciated as a good example of the cinematic value of a captivating storyline, worthy acting and excellent fight action.

Leung Kar Yan stars as tortured martial artist Chun Yau. Leung Kar Yan is a true veteran in the Hong Kong film industry, and had prominent roles in such important films as IRON MONKEY (1977), GREEN JADE STATUETTE, and THUNDERING MANTIS. Chang Yi is the sneaky the protagonist of THE VICTIM. Chang Yi has been a fixture in the Hong Kong film industry for nearly 25 years, and has appeared in some of the greatest Kung Fu classics of all time including TASTE OF COLD STEEL, 18 SHAOLIN DISCIPLES, and INVINCIBLE SWORD. Wilson Tong appears as a mercenary Kung Fu fighter hired by Chang Yi’s evil character. You’ve seen Wilson Tong in films like STING OF THE DRAGON MASTERS, DAGGERS EIGHT, and SNAKE DEADLY ACT. Chan Lung is another overweight Chinese comedy player who has carved out a niche for himself in films like WARRIOR FROM SHAOLIN, THE BUDDHIST FIST, and DIRTY KUNG FU. In THE VICTIM, he plays the cowardly brother of Yu Ti. Genre great (and frequent Sammo Hung collaborator) Karl Maka gets a cameo as an elderly monk who confronts Fatty.

A rich man with a kind heart takes in a suffering homeless orphan named Chun Yau. The man’s spoiled/jealous son does not take well to his new stepbrother. Chun Yau grows into a righteous martial artist played by Leung Kar Yan. Likewise, the jealous son grows into a bitter gang leader, essayed by Chang Yi. The jealous son holds a grudge against his stepbrother because Chun Yau stole his girlfriend. Now, Chang Yi has made it his goal to hunt down Chun Yau and his bride, Yu Ti prompting the newlyweds to spend their lives together running in fear from the gang leader. But one day Chun Yau runs into a bumbling tough guy named Fatty, who immediately challenges him to fight. Chun Yau quickly dispatches of his aggressor, prompting Fatty to set himself up as Chun Yau’s pupil. Apparently Fatty has promised his ancestors that he shall learn proper Kung Fu by training under the man who beats him (and Chun Yau is the first to do so.). However, Chun Yau and his wife are trying to keep a low profile and they want nothing to do with Fatty, as all he does is attract attention. Fatty, meanwhile, can’t help but wonder why such a great martial artist lives in fear.

With his stepfather at death’s door, Chun Yau and his wife go to pay final respects to his ill-struck adopted father. As Chun Yau enters his father’s room, he finds himself surrounded by Chang Yi’s men. They let Chun Yau speak with his stepfather as the old one expires. Chang Yi appears to be mourning the death of his father, but as soon as Chun Yau leaves his stepfather’s room, Cheng Yi orders his men to attack his step-brother (so much for showing respect to the dead). Fatty arrives in time to help Chun Yau fight off the gang members. But Chun Yau’s wife can no longer handle the pressures of life on the run. She begs Chang Yi to stop the violence and she will leave Chun Yau and live with him. She tells her husband she is sick of life on the run and that she will stay with Chang Yi. Chun Yau is shattered and leaves a broken man, followed by the faithful Fatty. But Yu Ti really does not plan on spending her life with her hated admirer. After Chang Yi calls off the price on Chun Yau’s head, Yu Ti commits suicide rather than succumbing to his desires. The death of Yu Ti only serves to fuel the flames of hatred between these two men. Chang Yi hires martial arts assassins (including Wilson Tong) to deal with his step-brother. Meanwhile, Chun Yi and Fatty come up with a plan of their own, which will result in the death of one of these men!

The plot of THE VICTIM moves along quite nicely and serves up some dark plot twists and character developments. However, the script does not adhere to the rules that it sets for itself. Director Sammo Hung keeps things moving so fast and furious that you overlook the obvious plot flaws. Most of the plot twists take place in the last act and only serve to undermine all that comes before. Sammo films the action very realistically, and never relies on cables or other such ‘unreal’ techniques. The fights are crisp and filmed in real time, with out any speed-ups. The photography and editing is employed with intensity and accuracy, to match the unbelievable speed of the combat sequences. The resulting film plays out like Yuen Woo Ping’s films from the same period, only funnier and not as predictable. Sammo’s Fatty character provides some great humor, and martial arts madness. THE VICTIM opens with Fatty starting fights with everyone he meets, because he is looking for someone to beat him. Then he finally gets beaten by Leung Kar Yan, and starts following him around like a lovesick puppy, while his so-called master tries to lose him. The comedic highlight takes place inside a bathhouse. The tension between both men finally escalate until both Sammo and Leung Kar Yan finally come to blows in a breathtaking display of choreography that moves them through each room inside the hero’s house, while his estranged wife looks on non-chalantly! In another funny bit, Sammo dresses up as a European vampire!

Sammo performs some perfectionist choreography including a superb bit with a three sectional staff, a sword, and the constant flipping (and acrobatics) of his overweight physique. As good as some of Sammo’s stuff is, Leung Kar Yan’s fighting skills are even better. At his wedding, he takes on four men in a thoroughly impressive scene. He throws his wife on his back and continues to beat the tar out of his attackers. More attackers brand staffs while Leung Kar Yan employs double swords and a staff of his own. The finale features Leung Kar Yan fighting his way through the gang members and finally Chang Yi himself. He uses Iron Cross techniques to dispatch of his opponents. Despite the entire gang brandishing swords, staffs, and axes, they are no match for Leung Kar Yan. Chang Yi himself is in pretty good shape for a middle-aged guy, and really pushes Leung Kar Yan to the limit. Both men exchange power moves for quite some time, and even when they both cough up blood, the action continues.

SIGHT
The 1.33.1 video master provided by Ocean Shores is in good condition, and Tai Seng’s DVD presentation is overall satisfactory. As THE VICTIM is originally a 2.35.1 film, the framing is expectedly tight. The fight scenes are intact for the most part, and the image does not appear ‘overscanned’. The transfer is a bit dark, but this is because the cinematography is intentionally gloomy, and not properly lit. The black levels are perfectly presented, allowing the viewer to easily distinguish the dark colors. While there is not an overabundance of bright, vivid coloring in THE VICTIM, the few shots (like the wedding sequence) are prominent. The transfer exhibits grain, of course, and a few scratches, but is above average for an Ocean Shores video master.

SOUND
The sound is Dolby Digital Mono 2.0. The acoustics are typical of a 1980s Kung Fu genre film from this era, meaning lots of screams and moans of pain to accompany the sounds of breaking bones and similar brutality. The mono sound on this DVD is free from pops and scratches that inhabit the VHS versions of these films. There is no distortion or background noise of any kind. Those that abhor dubbing should rejoice to know that THE VICTIM has a whimsical dub job that enhances the comedic elements of the film (of course it’s all subjective, folks). The voices used for the really bizarre characters and Sammo’s associates who cameo (like Karl Maka) are downright riotous. For the score, Sammo employs the musical stylings of his friend, Frankie Chan. The composer comes up with some main themes that are thrilling, but get monotonous after a while. Chan also has a habit of employing funk/jazz stylings into his soundtracks, and there are moments where the music in THE VICTIM is reminiscent of cheap 1970’s porno films.

FEATURES
The disc’s main asset is the audio commentary by Ric Meyers and Bobby Samuels. Meyers’ commentary keeps improving with each release and on THE VICTIM he really nails down the details of the production, the Hong Kong film industry at the time, and Sammo Hung’s career. Bobby Samuels, a trained martial artist, provides insight on the fight choreography and Kung Fu techniques. The result makes for an interesting combination between Meyer’s film knowledge and Bobby Samuels fight background—it’s sort of like a play-by-play man and color commentator during a sporting event telecast. You’ve got to applaud Tai Seng for offering up the commentaries on these old-school films, but I’d like to see them take the next step and include actual trailers, talent bios, or promotional material where applicable. There are also English language trailers for upcoming Tai Seng special edition DVDs (all trailers are widescreen with Dolby Digital Mono sound):