We are here in the mythology of the one-armed swordsman. Jimmy Wang Yu is this one. He loses his arm to a woman who loves him and hates him at the same time. He leaves his Kung Fu school to live in anonymity. But his past will force him to put forward his talent because of a woman.
The scheme is ultra classic. And the form too. Chang Cheh will make a more violent version of the film with the brilliant La Rage Du Tigre (1971) which will be much more violent, furious and masculine (the women have no influence on the story) and also less mawkish than this one which lacks subversion in an unsurprising framework. Jimmy Wang Yu does what he can, but he is not really helped, supported, transported, by the other actors who are a bit bland or else in sneers, nor by the two actresses (for the only two female characters) who are in the embarrassed pettiness. The fights are not particularly memorable, except for the super villain (whom we discover at the end) with his particular tools and his secret boot that allow us to get out of the routine of the usual fights for this kind of production.
The scheme is ultra classic. And the form too. Chang Cheh will make a more violent version of the film with the brilliant La Rage Du Tigre (1971) which will be much more violent, furious and masculine (the women have no influence on the story) and also less mawkish than this one which lacks subversion in an unsurprising framework. Jimmy Wang Yu does what he can, but he is not really helped, supported, transported, by the other actors who are a bit bland or else in sneers, nor by the two actresses (for the only two female characters) who are in the embarrassed pettiness. The fights are not particularly memorable, except for the super villain (whom we discover at the end) with his particular tools and his secret boot that allow us to get out of the routine of the usual fights for this kind of production.