REVIEW:
The Kung Fu Master is Tai Seng's condensed version of the first third of the television series that originally aired on Hong Kong television over the course of forty-one episodes. Most of these first episodes were directed by Benny Chan (Gen-X Cops) who oversaw the entire series, which was co-directed by a number of others. This, plus a generous budget for television, and the choreography of Donnie Yen lends the series a cinematic quality unmatched by most other Hong Kong series.

The story centers around a real martial artist and one of the heroes of Shaolin folklore who escaped the destruction of the temple and went on to found the kung fu techniques that made up the Hung Gar system. Donnie Yen plays Hung Hei Kwun (also played by Jet Li in New Legend of Shaolin) in a retelling of his life that brings together many legendary heroes previously portrayed in film including Yim Wing Chun, the woman who founded Wing Chun kung fu and Fong Sai Yuk, who also escaped the Ching government's attempt to destroy all Shaolin disciples. In this film, Hei Kwun returns home from a long absence filled with martial arts training. By birth, he's a Han and therefore subservient to the reigning Manchus, a fact which boils his blood and leads to conflict and heartbreak later. After coming to the defense of Ko Chun Chung, his lifelong friend, Hei Kwun finds himself at odds with the son of a local Ching official named Sek Tot. This leads to a martial competition with an incredibly strong Han named Tung Chin Gun, who although beaten, later teams with Hei Kwun in fighting against the Manchu.

The other main conflict involves Hei Kwun's relationship with his father, Hung Tin Nam who works for the Manchus. In reality, he is known as the Red Dragon and is leader of the Sun Moon Sect who are sworn to overthrow the Ching government. Tin Nam is in the difficult position of honoring his wife's wish that their son not be allowed to participate in his subversive activities, while trying to keep the hot-tempered Hei Kwun from clashing with the Ching on his own. Matters come to a head when the Emperor comes to visit the area and Tin Nam prepares an assassination attempt. It fails as a trap is set by Sek Tot. Hei Kwun joins the fight at the last moment, despite being sent away by his father. Both his parents are killed and Hei Hung prepares to avenge their death, but he must first recover from a poisoned wound and train with a vagabond monk who teaches him pole fighting techniques.

For anyone who has already seen Fist of Fury (1995), Tai Seng's version of Donnie Yen's second major series, you will be happy to know that The Kung Fu Master is put together much better and also features slicker martial arts choreography. Although its only the first part of a television series that has been edited into a feature film, it plays much like a theatrical release. The cinematography, musical score, and scale of the production are all impressive given the smaller budget.

The strength of the series is the drama seen in the character development, which is more fully realized than most Hong Kong action films. Most of the actors are seasoned veterans of television and film whose acting abilities lend the series emotional content. Possibly surprising to some is the emotional depth which Donnie Yen reaches in this series, something rarely seen in his films. Poon Chi Man (Dead Target) gives a notable performance as Yen's father in the series who is forced to keep his son at a distance. Their troubled relationship forms the nucleus of the story. Ng Tang Lee as Sek Tot, the main villain is very memorable, thanks in part to his wicked looks and a colorful thumbing of the nose that he adds. Lo Lieh is probably the only other really recognizable actor apart from Donnie. His roll is small, but significant as he plays a Manchu general who is close friends with Tin Nam. Once Tin Nam reveals himself to be Red Dragon, Lieh feels betrayed and there is a great, poetically shot confrontation between the two. This scene and many others are filmed on location in China and feature scenic vistas to enliven the series' more obvious sets.

For action, Donnie delivers the goods in spectacular fashion. The choreography is better than what is seen in a lot of martial arts movies. The opening features a lovely showcase of multiple flying guillotines in action which is always a bonus. Just about all of Donnie's trademark moves are present which highlight his tremendous kicking and flexibility. Ng Tang Lee is no slouch either and proves to be a satisfying villain for Yen to fight. He uses a distinctive mantis style and very briefly displays most of the film's obvious wire-enhanced techniques. The use of baby powder to enhance the impact of blows is out of control, something even Donnie himself admits to. But otherwise, this is very solid action entertainment.

Keeping in mind that the crew had to cut corners when it came to breakaway walls, the amount of time spent on each action scene, extras, and some of the outdoor shots, The Kung Fu Master is quite impressive and comparable to the likes of Hallmark Entertainment miniseries, minus the CGI. Tai Seng deserves credit for putting the time and effort into bringing this television series, even in a reduced form to Western audiences. It doesn't seem nearly as chopped up as their previous effort which was Fist of Fury. I will definitely recommend this to any Donnie Yen fans and to those who pine for the days when Hong Kong was at the top of their game producing the likes of Fong Sai Yuk and Once Upon a Time in China.