Leofwine_draca
VALLEY OF THE FANGS is a typical swordplay epic from the earlier days of Shaw Brothers cinema. This one is a wuxia-infused fable of fugitives on the run from a corrupt official who has falsified evidence against an underling and had him arrested. The man's wife and daughter flee with a special seal in their possession which gives the condemned man immunity, and the official sends out his men to kill the women and retrieve the seal.This film is a little more focused in fact than the usual Shaw wuxia efforts. There are a couple of scenes of wire work assisted jumps but otherwise it's a grounded story. It's also highly polished, with the usual exemplary set design and dressing and fine costumes. One sprawling set used late on in the production is a sight to behold. In addition, VALLEY OF THE FANGS is interspersed with regular action scenes, all of them involving ferocious swordplay, with some snippets of gore thrown into the mix.The excellent and ever-underrated Lo Lieh is the hero of the piece, a typical wandering swordsman type who randomly shows out in order to help out the allies. For my money he's never looked more handsome or heroic as in his role here, and he's a top fighter to boot. Supporting him are an extensive cast featuring numerous familiar faces. The larger-than-life Fan Mei Sheng is one of the main villains and typically outlandish. Fang Mian shows up for an important role early on in the proceedings. Things get really fun with the arrival of a volatile bandit gang added to the mix: members include Shaw regulars Chen Sing and Cheng Lei and a guy whose nickname might well be Popeye! Even the translator from Bruce Lee's FIST OF FURY is present. Things end in a burst of violence as you'd expect, and the film is well worth your time.
Brian Camp
VALLEY OF THE FANGS (1970) is a period action film from Shaw Bros. that boasts a strong cast, a nice mix of location work and studio sets, and an above-average storyline that culminates in a large-scale battle at an Imperial brickworks and workers' barracks. It all starts with a wicked Prime Minister imprisoning a beloved Imperial Lecturer, Song Yuan, on false charges. Song's daughter and wife dig up an Iron Shield of Pardon that had once been bestowed on Song and proceed to the capital in a bid to free their father/husband. The Prime Minister sends his Imperial Guards to find the pair and retrieve the shield to prevent the freeing of Song. Lo Lieh plays a lone swordsman who happens along to help the women out.The beautiful Li Ching (KING EAGLE, HONG KONG RHAPSODY) plays the daughter and she and the mother pose as a mother-daughter team of street singers. At one point, Li sings a song about the legendary heroine, Mulan. At another point, at a roadside inn, Li is confronted by blustery Fan Mei-sheng, as one of the Imperial Guards searching for her, who demands she sing a bawdy ditty called, "In a Bridal Suite." She doesn't know it, so HE starts singing it, making for a nice comic touch.To make a long story short, after much hiding and fighting and pursuit on the road, the action shifts to the Valley of the Fangs where a bunch of ex-bandits operate an Imperial kiln to make bricks for the Emperor's new palace. Li and her mother go there to hide for the night and, after some internal dispute, the lead group of ex-bandits decide to side with Lo Lieh and defend the mother-and-daughter when the Imperial Guards arrive on site. An intervention by an official from the Ministry of Works gives Mom-and-daughter momentary protection from arrest until the bricks are finished. But they hatch a plan of escape... The Valley of the Fangs set is one of the biggest outdoor sets I've yet seen in a Shaw film. It's got the kiln, huge piles of bricks and a large workers' barracks. And it's the setting for a sprawling fight scene as Lo and the workers battle the Imperial guards over the whole run of the place. The actors playing the ex-bandits include kung fu great Chen Sing (SHAOLIN MONK), Shaw Bros. regular Cheng Lei (THE MAGNIFICENT TRIO) and Kang Hua (whom I enjoyed when he played a heroic role in THE BLACK TAVERN).Overall, the plot is very well laid out and keeps things hopping at a good pace for its entire running time, with enough clever twists and turns to keep it from being too predictable. The film's ending is quite unusual for a Shaw film—it actually shows us what happens to the characters, with some genuine resolution. Three-and-a-half-minutes of it. No freeze frames. No abrupt cuts. While it didn't have the specific ending I was hoping for, it actually dramatizes everything that needed to be seen. Well done.
