Men From The Monastery: Reviews

Chang Sheh was never afraid to experiment with ideas and the unusual narrative style of this movie is as much proof of that as the use of innovative camera techniques in the climactic battle. The film is split into four connected stories; the first three introduce each of the principal characters and the fourth brings them together to fight united against a single enemy. With roughly twenty minutes being given to each character the film moves quickly into action and seems much faster paced than many of Chang Cheh's other films.

In the first, and probably the best, of the introductory stories Fu Sheng plays Fong Sai Yuk who decides to leave the Shaolin Temple. Before he can go he must prove himself worthy by fighting his way through the dreaded 'Alley of Death'. He passes the test of course and leaves for the outside world where he helps some oppressed folk by defeating a villainous Manchu. These first twenty minutes feature the sort of fight action usually reserved for an ending, especially in the fight against the Manchu fighter.

The next story introduces Chi Kuan-Chun as Hu Hui Chen who seeks revenge against the kung fu masters who needlessly killed his father. After nearly being killed himself on his first couple of attempts at vengeance he is helped by Fong Sai Yuk. In the third story Hung Hsi Kwan is played by Chen Kuan-Tai who is fighting a kind of guerilla war against the Manchus, killing as many as he can but realising that he can only do so much as one man.

When the Manchus burn Shaolin Temple the three characters are all brought together for the fourth section of the film where the title 'Men From the Monastery' finally appears on screen. The three gather a small army and go into hiding until the Manchu's finally track them down and the film reaches its climax.

Like many of Chang Cheh's movies the ending is typically blood drenched but this is toned down as the film switches to black and white during the last ten minutes. The monochrome effect gives the film a particularly stylish look. Red filter is also used to emphasis some of the film's more tragic moments (and a particularly nasty ending for one of the main characters, the thought of which really brings tears to the eyes).

Fight choreography was still in early development in 1974 and so seems slow or less complicated when compared to the films that followed only a few years later. Even so the action is well handled and is complemented by Chang Cheh's usual effective camerawork. Fu Sheng, Chen Kuan-Tai and Chi Kuan-Chun all put in excellent performances and of course there are the usual classic Shaw Brother's sets which I always like about these films.