Name: Meng quan lan hua shou
Genre: Action
Released: 1979-12-06
Duration: 1 h 25 min
Rating: 5.6
Cast: Yuan-Bao Jing, Kung-Tze Ho, Chin Hu

Two kung fu buddies train for different masters to defeat a common enemy

The movie begins with two kids practicing kung fu and they grow up before the opening titles finish. That's about it for the alternate title of "Kung Fu Kids". One of our guys joins Woo Gam in the restaurant business. The other guy is in prison with a kung fu master. The escape from confinement is the briefest ever filmed. In the dungeon, the master says "Let's go" and cut immediately to the two of them emerging from behind large rocks in a faraway forest.

The training sequence became a popular and even an expected part of martial arts movies. It began, in my opinion, in 1972 "The Prodigal Boxer" with Mang Fei. I consider the sequence as requiring the master to be overseeing the student, the master is resting comfortably, and the student is doing exhausting and unusual training. Yes, there are a few earlier sequences such as 1970 "The Chinese Boxer" but these sequences don't quite fit the format. If any fan has a different opinion please write as I would enjoy such a discussion.

Regardless of where the training sequence began the training sequence certainly jumped the shark in this movie. Woo Gam leads the training sequence, it involves foot binding and is absolutely absurd. 

This is a comedy and the humor is weak, the fights are not bad, the story is feeble yet overall the sum manages to exceed the limitations of the parts. Any single sequence of the movie would be considered below average yet I watched the whole one hour and twenty six minutes without fast forward. Despite some overwhelmingly stupid sequences it held my interest and attention. I can only recommend this for hard core fans of the genre and would not be surprised if half of these fans hated the movie instead.

Mandarin-language cinema across Mainland China, Taiwan, and Singapore explores historical reflection, cultural identity, and personal sacrifice, often expressed through poetic visuals and sweeping narratives. In Mainland China, this takes the form of allegory and large-scale epics that reflect on national history. Taiwan emphasizes intimate modernist realism, generational change, and the search for identity. Singapore contributes stories of migration, multiculturalism, and the negotiation of tradition in a globalized city.

The action genre features fast-paced, thrilling, and intense sequences of physical feats, combat, and excitement. The characters of these stories are involved in daring and often dangerous situations, requiring them to rely on their physical prowess, skills, and quick thinking to overcome challenges and adversaries.

Two Kung Fu fools try to defend a village from bandits.

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Meng quan lan hua shou

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