Directed by Tony Ching Siu Tung ("Hero", "City Hunter"), master of all the swashbuckling swordfights, "Duel to the Death" is the stuff that classic swordfight epics are made of. Besides a plot that keeps you tethered to the edge, "Duel to the Death" contains some of the most spectacular ninja vs. swordsman action of all time as well as some of the most gravity defying wire stunts to be seen on screen.

REVIEW:
If you look at the credits of this highly acclaimed film you’ll notice director Ching Siu Tung’s name appearing almost everywhere. Ching Siu Tung has created many great movies in his time, but Duel to the Death was his directorial debut. Further on in his career he made the famous horror trilogy, The Chinese Ghost Story (1987, 1990, 1991). Duel to the Death however is more similar to his more recent swordplay epics like the Swordsman (1990, 1991, 1992) trilogy. The movie was well received by Asian audiences, so much so that it was nominated for “Best Action Choreography” at the Hong Kong Film Awards in 1984.

Damian Liu portrays a morally infused fighter (Bo Ching Wan) who would rather fight a friendly match than hurt an opponent. Hashimoto (Norman Chu) on the other hand is a disillusioned, yet honorable Japanese fighter who will die for his country. Both have been chosen to represent their respective countries in a challenge to prove which of their countries has the superior martial arts. Bo comes from a background in Buddhist teachings and has studied Chinese martial arts for many years; the more traditional character. Hashimoto on the other hands comes from a Japanese school that teaches their students to win at all costs and that failure is awarded only with death. The Japanese are portrayed as better people than they usually are, but in the end the Japanese are still shown as the evil race. One wishes that they wouldn’t fight at the end, even though you know it's inevitable. Thus, the final scenes in the movie are a letdown in the story department and succumb to mediocrity.

Ninja are shown in various scenes as they capture guests who were invited to watch the challenge, and also steal Chinese martial arts books. The scenes involving ninja are very fantasy-like and the ninja are seemingly made out of explosives and can disappear as if by magic! That element of the movie is what I loathed most, because these fights are very generic and full of special effects. Eddy Ko plays Kenji, the role of a ninja who was sent by the Japanese General to kill Bo Ching Wan, amongst other things. On the Chinese side, things aren’t looking too good either with the host of the tournament actually having his own plans to get his martial arts school back into the limelight. For the most part it was the story, combined with the classic settings that really interested me most. The traditional costumes and outdoor scenes, like those of the forest or the palace where they stay before the fight were very pleasing to the eye. It had that colorful and lively feeling. I saw the movie as a period drama with action, but ending with a brilliant display of sword fighting. If you liked Damian Liu’s performance in Last Hurrah for Chivalry (1979) I’m pretty sure you’ll find him entertaining here too. Backing up the two leads is Flora Cheung (Sing Lam), a beautiful actress who may not have had a big career in the HK movie business, but who has a great supporting role in Duel to the Death. Her highlight in the movie is when she, her father and Bo go at it together. Every time Bo strikes at her father she intervenes and just after stopping his attack she proceeds to attack her father! This fight takes place inside a hall that forces a close encounter and precedes the terrific ending fights, which follow shortly afterwards.

Many consider this movie a classic swordplay film, personally I can only agree partially. I prefer realistic fights to these wire-fu epics where one can’t see the physical abilities of the actors. That said, when the swords start clashing I’m right in there with all the fans. It’s an all-round good movie with a great cast and a different telling of the Chinese vs. Japanese story. Ching Siu Tung knows how to choreograph a fight scene... believe me!

This film, which was Ching's first stint as a director, isn't as polished as some of his later work. To begin with, the plot is extremely simple, with a Japanese (Norman Chu) and Chinese (Damian Lau) warrior meeting up for a duel, while a wily Japanese monk (Eddy Ko Hung) plots to destroy everyone involved. The simple plot would normally be a refreshing change from the cluttered ones these types of films usually employ, but the script relies too much on cliches (some lines sound straight off a fortune cookie) and weak plot twists to keep the viewer too involved. I also didn't like the ambiguous ending. Hong Kong films (especially action ones) are not normally known for having long epilogues, but Duel to the Death ends so abruptly after the climatic duel -- literally seconds after the fatal blow -- that there felt like there was little resolution at all to the story or characters. These situations are not helped at all by the acting, which is average at best throughout the film.

But Ching Siu-Tung is not known for his great plots or stunning dialogue, he is known for producing some of the best action sequences around. The ones featured in Duel to Death are, once again, not as polished as later films, but they are still exciting and quite gory in parts. Even though the means to capture the high-flying moves are simple by today's standards (mostly undercranking and backwards filming), they captured the powers of the fighters' moves very well, especially compared to over-computerized movies like A Man Called Hero. There is a downside to the fight sequences, though. I didn't like some of the editing techniques; some moves are shot too close up and edited too fast -- so it turns out that this is not just an American quirk.

However, I really enjoyed a lot of the action stuff in Duel to the Death, most notably the various methods of ninja trickery shown, and the final confrontation between Lau and Chu, which takes place on a stunning clifftop and culminates in a virtual bloodbath as the combatants dice themselves (and the cliff) apart. These sequences make this a worthy viewing for Hong Kong action junkies, and a good introduction to the best director you may have never heard of.

Director Sui-Ting Chin eventually went on to major success when he teamed up with producer Tsui Hark and directed the THE CHINESE GHOST STORY and SWORDSMAN films. Sui-Ting Chin’s efforts revolutionized modern Hong Kong cinema. He was the person responsible for the usage of wires and cables in modern martial arts movies and crime dramas (though Cable-Fu is abhorred by fans of classic martial arts films). Norman Tsui Sui-Keung steals the show as Hashimoto, the Japanese fighter/swordsman who will do anything for the betterment of his lord and country. Damien Lau shows some charisma as young master, Po Ching Wan. Flora Cheung is graceful and drop-dead gorgeous, but a flat actress. It’s no surprise to discover her career went nowhere after this film.

A team of silent Ninjas stalk a Shaolin monastery in the hills of China. They desecrate the holy temple, and kill some monks, until the old Shaolin master sends his top pupil, Po Ching Wan (Damien Lau), into battle against the dark-clad invaders. With the aid of the Abbot and his monk brothers, Po Ching Wan drives the Ninjas away. Next, the temple receives a visit from a Japanese delegate, Kenshu, who expresses his desire to test the top Shaolin fighters against Japan’s leading martial arts practitioner, Hashimoto (Norman Tsui Sui-Leung). Hashimoto turns out to be an honorable man, but he is manipulated by the corrupt Shogun Lord, to whom Hashimoto has pledged himself, for the betterment of Japan.

In honor of the Japanese-Chinese tournament, the Chinese residents hold a festival attended by Chinese warriors and Japanese delegates. The Japanese have little faith in the Chinese celebrations, and begin causing trouble in the streets. This piques the attention of Sui Man (Flora Cheung), a female martial artist who stands up to the Japanese bullies. Later she is assaulted by a band of Ninjas, who have been abducting China’s best martial artists; including the Abbot of the Shaolin temple (and friend of Po Ching Wan). Po Ching Wan joins Sui Man in fighting off the Ninja band. She is grateful for his assistance, and she takes him to meet her father at the Silver Saint village. Her father is the Lord of Silver Saint village, and his family has acted as caretakers for the Japanese-Chinese tournament down through the ages.

At the village of the Silver Saint, Sui Man’s father warmly receives the fighters. Surpringly, Po Ching Wan meets his future opponent Hashimoto, and the two become friends. Po Ching Wan also gets emotionally involved with the beautiful Sui Man (whose has some skeletons in the family closet). The presence of the Ninjas and the disappearance of the top Chinese fighters indicate that some kind of conspiracy is afoot. Po Ching Wan and Hashimoto share resources to solve the mystery. But Hashimoto makes one thing perfectly clear: he will join Po Ching Wan in uncovering the conspiracy, but he has pledged himself to kill China’s top fighter in battle. So the two fighters team up to battle the Ninja horde, each knowing that should they survive the skirmish, they must face one another, and duel to the death.

DUEL TO THE DEATH is one of the bloodiest and most violent Kung Fu films of its time. Here are some examples of what you'll see in the picture:

Yeah, that's right... Not just a kamikaze ninja. An exploding kamikaze ninja. And that's just the tip of the iceberg that is "Duel To The Death". And when you add great acting, terrific action sequences, an ultimately tragic and poignant story, and beautiful cinematography... well, that just sweetens the deal. However, this movie also works as just a riotous movie chock full of furious wuxia/swordplay/martial arts action. As such, it ultimately pleases the aesthetic side of me that wants a stirring story and well-executed film, and the action side of me that just wants to see a lot of butt-kicking and bloodshed.

The movie focuses on two main characters, Hashimoto and Ching Wan, and the events that lead up to their duel. Both are expert swordsmen, the best their countries have to offer (Hashimoto being from Japan and Ching Wan from China). The two are duelling in order to prove which country has the best warriors. However, the two warriors are caught up in personal honor and such. Each wants to prove himself the best warrior, and each see the other as an equal.

Unfortunately, other forces are at work. It seems the Japanese Shogun wishes to capture the secrets of Chinese martial arts, and have sent over an army of ninjas to accomplish such a tast. Hashimoto is ignorant of this at the start. For him, it's just a personal contest to prove his worth. However, as the movie progresses, he starts to wise up to the Shogun's tricks and becomes torn. He has sworn allegiance to the Shogun, but his sense of honor is disgusted at the Shogun's duplicity.

Ching Wan also wants to test his skills, and sees the duel as a way to prove his masters that he is a capable student. Although he suspects the Japanese of being dishonest, he is caught up in the honor as well, and insists that he must fight Hashimoto in order to prove China's worth. However, there is betrayal among the Chinese as well. By the film's end, the two warriors must not only prepare to battle eachother, but it becomes increasingly obvious that the other parties at work will prevent the duel from being a mere test of skill and valor.

Unlike some of the wuxia films I've seen, this one holds up remarkably well under repeated viewings. The story, with the two warriors surrounded by political deceit, racial tensions, and personal betrayal, must ultimately decide what true honor is. And of course, it leads up to a tragic end that shows, in the most graphic terms, the emptiness that can lie at the heart of such honor. Both Norman Tsui Siu-Keung ("Wing Chun") and Damian Lau ("Last Hurrah For Chivalry") give superb performances, especially during the final battle. Although they are enemies, they respect and admire eachother; in a different world, perhaps, they might even be allies and friends.

Another reason that "Duel To The Death" holds up to multiple viewings - and believe me, there will be multiple viewings - is the superb action. This is why I love these kinds of movies. I swear that you could stare at a different square inch of the screen each time you watch this movie, and see something new. The fight scenes are a visual riot; blades slice and blur through the air, fists and feet fly with abandon, and bodies careen and bounce around the screen so much it makes "Crouching Tiger, Hidden Dragon" seem tame. Forget about the laws of physics, people. I'm not sure, but I think the ability to use your sword as a springboard to jump higher while flying in midair violates at least one of Newton's laws. But screw all that nonsense; things like that just make for a darn fine swordfight.

And then there's the ninjas. Ah yes, it's impossible to talk about this movie without mentioning the ninjas. Ninjas are everywhere in this movie. They fly through the sky on giant kites. They soar through the trees. They turn invisible. They can combine to form giant ninjas, Voltron-style. And they explode. And explode. And explode. Not since "Super Ninjas" have I seen such ninjalicious action.

Everything in this movie is over the top, and as you can see, I love ranting about it. But I love ranting about it even more because it's such a great story. Oh sure, you get to see a man's decapitated head fly through the air, impale itself on a tree branch, utter a last threat, and explode... but you also get to see a great, and maybe even moving story about the weight of honor in a world without any. It's a rare case where a movie's insane action and it's drama complement and strengthen eachother. Let the masses have their "Crouching Tiger, Hidden Dragon". As much as I loved that movie, I'll take "Duel To The Death" any day.

A period drama, Duel to the Death tells the story of a Japanese plan to steal the secrets of Chinese martial arts. A Japanese general sends a master swordsman to challenge the greatest Chinese sword masters to a duel, yet this is revealed to be simply a cover for a much more sinister plot. Tradition demands that the twelve greatest Chinese martial arts masters gather to witness the duel and see that honour is done between the swordsmen. The Japanese challenger, however, is merely an elaborate smokescreen; whilst the twelve Chinese masters make their way to the venue of the contest they are kidnapped one by one by Ninja warriors. These warriors, who have been dispatched by the Japanese general, have orders to take the Chinese masters to Japan where he will study their martial arts techniques and steal their secrets. The Japanese champion, who is initially ignorant of the plot, is an honourable man who when he discovers what is afoot wants no part of it, seeing victory in the duel as his primary objective. The film shows various attempts, some successful, others not, by the Ninja to capture the martial artists and the build up to the climactic duel between the two champions.

Due to their close collaboration on a number of projects, most notably A Chinese Ghost Story, Ching Siu-tang has become firmly associated with Hong Kong director/ producer Tsui Hark. A Chinese Ghost Story is often discussed in terms of Tsui Hark's contribution, and its links with his authorial concerns and interests. Duel to the Death, therefore, offers a rare chance to consider the input of Ching to the later collaborative projects. With this purpose, I wish to focus upon the film's visual style and action choreography, and its presentation of nationalistic themes and the mythologizing of history.

Ching Siu-tung continued to work as a top Hong Kong action choreographer, alongside his directing career. In this capacity he worked with some success for, amongst others, Tsui Hark, Peking Opera Blues (1986), John Woo, A Better Tomorrow (1987), and Sammo Hung, Moon Warriors (1992). However, some of his most visually striking work can be found in his own film, A Chinese Ghost Story, and its sequels. Within these works the fantasy setting and traditional ghost story narrative allow for a clear break with the conventions of social realism. In these films, with the aid of special effects and wires, characters can fly and move through the air with tremendous energy and grace.

A strongly non-naturalistic visual style is also present in Duel to the Death. Whilst not strictly a ghost story or fantasy film, Duel to the Death's plot, particularly the inclusion of the mythical and mysterious Ninja, allows for some arresting visuals and action choreography. Bodily transformations, flying and the ability to disappear in clouds of smoke, all form part of the legendary skills of the Ninja and Ching incorporates all of these elements into the choreography of Duel to the Death. The ways in which he is able to include these elements into the film in a consistent way are due to the non-naturalistic traditions of the Hong Kong popular cinema within which he works. Certainly, they add to the pace of the film and create a real sense of excitement and amazement for the viewer.

In many sources the credit for the visual magnificence of A Chinese Ghost Story has been attributed to the producer Tsui Hark. However, when one considers the look of Duel to the Death and its fantastic storyline, the input of Ching begins to take on a greater significance. Alongside this, thematically, the earlier film has some of the hallmarks of the latter, landmark, film with its interest in Chinese nationalism and its creation of a mythical China.

Chinese nationalism is something that has been strongly identified with the films of Tsui Hark. As Stephen Teo notes in his book Hong Kong Cinema: the extra dimensions (1997) Chinese nationalism and martial arts come together in Tsui Hark's films,

Tsui depicts the mythic world of the martial arts as a time when China's sciences and inventions were at their peak. This notion of Chinese science and military prowess, combined with popular mythologizing of the martial arts, form the substance of Tsui's nationalist theme. (163)

Certainly this may explain the ease with which some have credited Tsui Hark for the mythology and nationalism within A Chinese Ghost Story. However, nationalism was not exclusive to Tsui. Again, as Teo argues, "Nationalism is a potent theme in the work of old and new Hong Kong directors, from social-realist Cantonese melodrama to Mandarin historical epics, and from martial arts films to new wave works" (110). So it is therefore possible to see the nationalist theme as something one might expect in certain Hong Kong martial arts films. It is most definitely present in Duel to the Death, and suggests its appearance in A Chinese Ghost Story has more to do with just the presence of Tsui Hark as producer.

In Duel to the Death the Japanese general covets Chinese martial arts techniques. Through the use of wires and special effects the film creates a mythical world where the abilities of the Chinese martial artists, through their dedication to traditional values, are clearly ahead of all others. In opposition to this the Ninja assassins are shown to be mercenaries, ones who, in comparison to the Chinese, have no moral values. The Chinese way of life and beliefs are presented as far superior, spiritually and well as physically, to their opponents. Even the swordsman sent by the Japanese general, who is shown to have some positive attributes, fails to understand fully the true nature of honour when he murders the Shaolin Sifu in order force the Chinese champion to engage him in combat. The Chinese warrior is left as the epitome of all that should be seen as positive. He has excellent martial arts skills, respects his teachers, possesses a strong sense of honour and an almost natural sense of what is right and wrong. The Japanese swordsman may be skilful but lacks an all-important "balance", even though he finally defeats the Chinese champion. This negative portrayal of Japanese fighters is not isolated. Earlier, cruder versions of the barbaric Japanese warrior can be found in films such as Wang Yu's One Armed Boxer (1971), and in the persona of Bruce Lee, who as Stephen Teo argues appealed to Chinese audiences due to the highly nationalistic sub-texts which may be found in his films.

It may be argued that Duel to the Death is, due to its nationalistic sentiment, a very typical Hong Kong martial arts film, the myth of a heroic China operating as a structuring element to its narrative. It also stands as an excellent example of the kinetic action choreography that was to become dominant in Hong Kong action cinema in the 1980s and 1990s. The video release of Duel to the Death also highlights the importance of looking beyond the well-known figures and films of recent Hong Kong cinema, in order to discover more deep-seated themes and trends. Wider availability of titles such as this and others released by "Made in Hong Kong" allow this to take place and needs to be applauded.