Jack the Ripper: Limited Edition – Cauldron Films (4k UHD/Blu-ray Combo)

Theatrical Release Date: West Germany, 1976
Director: Jesús Franco
Writer: Jesús Franco
Cast: Klaus Kinski, Andreas Mannkopff, Josephine Chaplin, Andreas Mannkopff, Herbert Fux, Lina Romay

Release Date: April 28th, 2026
Approximate Running Time: 92 Minutes
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10
Rating: NR
Sound: Dolby Digital Mono English, DTS-HD Stereo English, DTS-HD 5.1 English
Subtitles: English SDH
Region Coding: Region Free (4K UHD), Region A (Blu-ray)
Retail Price: $54.99

"During the late 1800’s, the Whitechapel area of London was gripped in fear as Jack the Ripper (Klaus Kinski — Code Name: Wild Geese) literally tore through the prostitutes of the area.  Desperately trying to solve the grisly murders and placate the panicking residents, Inspector Selby (Andreas Mannkopff) finds himself obsessed with finding the killer and protecting his girlfriend (Josephine Chaplin — The Canterbury Tales) who may be next…” – Synopsis provided by the Distributor

Video: 5/5 (4K UHD), 4.5/5 (Blu-ray)

Here’s the information provided about this release's transfer, "Jack the Ripper was scanned in 4K from the original camera negative & best available film materials by Ascot Films. Grading and restoration by Gamma Ray Digital. SDH subtitles, additional grading restoration by Outer Realm Studio. Authoring and Dolby Vision HDR grade by Duplitech."

Jack the Ripper comes on a 100 GB triple layer 4K UHD

Disc Size: 68.2 GB

Feature: 60.4 GB

The source is in excellent shape; flesh tones and colors look correct, image clarity, contrast, and compression are solid, black levels are strong, and the image always looks organic.

Jack the Ripper comes on a 50 GB dual layer Blu-ray. 

Disc Size: 45.5 GB

Feature: 26.5 GB

This Blu-ray uses the same master that is used for the 4K UHD disc.

Audio: 4.25/5 (DTS-HD 5.1 English), 4/5 (DTS-HD Stereo English), 3.75/5 (Dolby Digital Mono English)

This release comes with three audio options, a DTS-HD 5.1 mix in English, a DTS-HD stereo mix in English, and a Dolby Digital mono mix in English. All tracks sound clean, clear, and balanced, and ambient sounds are well-represented. The DTS-HD 5.1 track is the strongest of the three. Included are removable English SDH.

Extras

Extras on the 4K UHD disc include an audio commentary with Ryan Verrill and Dr Will Dodson.

Extras on the Blu-ray disc include a theatrical trailer (2 minutes 57 seconds, Dolby Digital mono German with removable English subtitles), a deleted gore scene (15 seconds, no sound), a video essay by Eugenio Ercolani titled Whitechapel Shadows (17 minutes 7 seconds, Dolby Digital stereo English, no subtitles), a video essay by Troy Howarth titled Klaus the Ripper (21 minutes 28 seconds, Dolby Digital stereo English, no subtitles), an interview with actor Andreas Mannkopff titled He Caught Jack the Ripper (26 minutes 47 seconds, Dolby Digital stereo German with non-removable English subtitles), an archival featurette titled Erwin C. Dietrich's Tribute to Jess Franco’s Jack the Ripper (22 minutes 31seconds, Dolby Digital stereo German with non-removable English subtitles), and an audio commentary with Ryan Verrill and Dr Will Dodson.

Other extras include reversible cover art, a rigid slipcase (limited edition only), a double-sided poster (limited edition only), and a 40-page booklet (limited edition only) with cast & crew information, an essay titled Jess and Erwin: A Match Made in Switzerland written by Troy Howarth, an essay titled Jess Franco’s Jack the Ripper written by Dr Stella Marie Gaynor, and information about the transfer.

Summary:

Jack the Ripper was one of eighteen films that Jess Franco made with producer Erwin Dietrich over a three-year period. Their collaboration began with Downtown and ended with Girls After Midnight.

The story of Jack the Ripper, the most infamous killer whose identity to this day has not been uncovered, has been told countless times. Many films about Jack the Ripper have taken liberties with the known evidence surrounding his crimes. Some of these films merely use his notorious acts as a foundation for their stories, while a select few attempt to remain closer to the actual events. While Jess Franco’s Jack the Ripper falls somewhere in between, it does lean more to the latter.

Over the course of his 18 film collaborations with Jess Franco, producer Erwin Dietrich takes advantage of Jess Franco’s three greatest assets: his ability to work quickly, his ability to overcome anemic budgets, and his knack for crafting exploitation cinema that perfectly blends erotica and horror. Although Jack the Ripper incorporates all of these elements, it stands out as the most resource-intensive project that Jess Franco collaborated on with Erwin Dietrich. Additionally, Jack the Ripper distinctly differs from their other 17 collaborations by being the most mainstream film among the 18 they produced together.

Known for his frequent collaborators, Jess Franco works with Klaus Kinski (Nosferatu the Vampyre) for the fourth and last time. Klaus Kinski is frequently cast in roles that demand limited screentime, but in the role of Jack the Ripper, he is given his most substantial part among his four collaborations with Jess Franco. He has a natural intensity and menace to him that makes his casting a perfect choice.

When it comes to the rest of the performances, they are very good, especially Hans Gaugler in the role of a blind man who’s the police’s only witness to Jack the Ripper’s identity. The rest of the cast is rounded out by Josephine Chaplin in the role of the inspector’s girlfriend, who uses herself as bait for Jack the Ripper, and Jess Franco’s muse, Lina Romay (Female Vampire); she has a brief role as a dancer who becomes one of Jack the Ripper’s victims.

The opening setup effectively draws you in, but after this initial hook, Jess Franco’s characteristic slow pacing begins, which some viewers may find overly drawn out. While the film includes the essential elements typical of a Jack the Ripper story, it is far less graphic than one might anticipate from Franco's work. The most notable moments that reflect Jess Franco's style include a scene in which Jack the Ripper experiences hallucinations and a lively can-can dance sequence set in a nightclub. Ultimately, Jack the Ripper stands out as one of Jess Franco’s more accessible films.

Cauldron Films gives Jack the Ripper a first-rate release that comes with a solid audio/video presentation and a wealth of informative extras. Highly recommended.

Note about the 4K screenshots: It is not possible to make Dolby Vision or HDR10 screenshots that faithfully match the experience of watching a film in motion on a TV. Instead of not having any screenshots, all of the 4K screenshots are m2ts taken with a MPC-HC player and lossless PNGs.

Written by Michael Den Boer

Jakoman and Tetsu – 88 Films (Blu-ray)

Theatrical Release Date: Japan, 1964
Director: Kinji Fukasaku
Writers: Keizo Kajino, Akira Kurosawa, Senkichi Taniguchi
Cast: Ken Takakura, Tetsurô Tanba, Isao Yamagata, Yôko Minamida, Kumeko Urabe, Wakaba Irie, Hizuru Takachiho, Shinjirō Ehara

Release Date: April 21st, 2025 (UK), April 22nd, 2025 (USA)
Approximate Running Time: 99 Minutes 30 Seconds
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVCC
Rating: 12 (UK), NR (USA)
Sound: LPCM Mono Japanese
Subtitles: English
Region Coding: Region A,B
Retail Price: £16.99 (UK), $34.95 (USA)

"Set in 1947 in a small coastal village among the majestic snowy landscapes of Japan’s northernmost island of Hokkaido, Ken Takakura (the Abashiri Prison series, Ridley Scott’s Black Rain) is Tetsu, the prodigal son who returns from the war to help out his father Kyubei with the family herring fishing business. His arrival coincides with that of a one-eyed miscreant named Jakoman, played by Tetsuro Tamba (Harakiri, You Only Live Twice), who bears a long-standing grudge against Kyubei and is intent on causing as much mayhem among the hordes of seasonal fishermen as possible." - synopsis provided by the distributor

Video: 3.75/5

Here’s the information provided about the transfer, "High Definition Blu-ray presentation in 2.35:1 Aspect Ratio".

Jakoman and Tetsu comes on a 50 GB dual layer Blu-ray.

Disc Size: 33 GB

Feature: 27.3 GB

The source is in great shape; some minor debris remains. Though black levels are generally strong, there are moments where they are not convincing; image clarity is solid, and compression is very good.

Audio: 4.25/5

This release comes with one audio option, a LPCM mono mix in Japanese with removable English subtitles. The audio sounds clean, clear, and balanced, and range-wise, things sound very good.

Extras:

Extras for this release include a stills gallery with music from the film playing in the background (stills/poster), an introduction by Mark Schilling (18 minutes 21 seconds, Dolby Digital stereo English, no subtitles), an audio Commentary with Tom Mes and Jasper Sharp, reversible cover art, removable OBI strip leaving packaging free of certificates and markings and a 20-page booklet with cast & crew information, and an essay titled Jakoman and Tetsu written by CHRIS D.

Summary:

When Kinji Fukasaku directed Jakoman and Tetsu, it was very early in his career; he had only directed 8 films and was still searching for his voice as a filmmaker. A screenplay co-written by Akira Kurosawa was made into a film in 1949, and Kinji Fukasaku's Jakoman and Tetsu is based on that. Though only written by Akira Kurosawa, one can see many elements that are synonymous with his films. That said, it is fascinating to see Kinji Fukasaku's interpretation of a source connected to Akira Kurosawa.

The narrative revolves around an aging fisherman, Kyubei, and a man named Jakoman, who holds a grudge against the former. Things are already not running smoothly with the fishery, and the arrival of Jakoman causes additional problems. Jakoman bullies the workers hoping to inflict the pain and suffering he felt because of Kyubei’s actions. Another issue for Kyubei: it's believed that Tetsu, Kyubei's son, is presumed dead at sea. However, one day, events take a dramatic turn when Tetsu returns home, and his presence compels Jakoman to somewhat rein in his behavior.

What starts off as one man’s quest for revenge evolves into a story rooted in grievances. Besides Jakoman’s conflict with Kyubei, there is a woman, Yuki, who was a former lover of Jakoman, and she has her grievances. Then there are the workers at the fishery, and Jakoman whips them into a frenzy about their wages, causing another grievance. That said, the way that Kinji Fukasaku brings all of these grievances together is masterful.

All around, the cast are excellent in their roles, and yet it is the two leads, Ken Takakura’s (Abashiri Prison) portrayal of Tetsu and Tetsurô Tanba’s (The Wolves) portrayal of Jakoman, that carry this film. Ken Takakura is given the task of taking on a role originally portrayed by Toshirô Mifune, and he proves he is up for the challenge. That said, it is Tetsurô Tanba’s portrayal of Jakoman; he perfectly captures this character's spitefulness and bleak outlook. Another performance of note is Shinjirō Ehara's (House of Terrors) portrayal of Osaka, a man who tries to convince Jakoman that holding onto a grudge is not the way. Though we are forever shaped by our past, Osaka proves from experience that nothing is gained from dwelling on it.

It is always refreshing to see a filmmaker work outside of their comfort zone. Though Jakoman and Tetsu is a departure from the type of films Kinji Fukasaku is known for, it still retains a core element of his cinema: conflict. The well-constructed narrative gives key moments an ample amount of time to resonate, and pacing is not an issue as things move briskly to a very satisfying conclusion. Another strength is how the visuals allow the performances to be the focal point. Ultimately, Jakoman and Tetsu is arguably one of Kinji Fukasaku’s most underrated films.

Jakoman and Tetsu gets a first-rate release from 88 Films that comes with a strong audio/presentation and insightful extras, highly recommended.

Written by Michael Den Boer

Je t'aime, je t'aime: Limited Edition - Radiance Films (Blu-ray)

Theatrical Release Date: France, 1968
Director: Alain Resnais
Writers: Jacques Sternberg, Alain Resnais
Cast: Claude Rich, Olga Georges-Picot, Anouk Ferjac, Alain MacMoy, Vania Vilers, Ray Verhaeghe, Van Doude, Yves Kerboul, Dominique Rozan

Release Date: March 24th, 2025
Approximate Running Time: 94 Minutes 51 Seconds
Aspect Ratio: 1.66:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 15 (UK)
Sound: LPCM Mono French
Subtitles: English
Region Coding: Region Free
Retail Price: £14.99 (UK)

"Claude leaves hospital recovered from a failed suicide attempt when some scientists offer him the chance to be part of a project. He will be the first human subject in a time travel experiment. Travelling back in time one year for just one minute, he becomes lost in a continually shifting mosaic of temporal episodes." - synopsis provided by the distributor

Video: 5/5

Here’s the information provided about this release's transfer, "Je t'aime, je t'aime was restored in 2K by Ciné Mag Bodard with the assistance of Centre national du cinéma et de l'image animée (CNC) and supplied to Radiance Films as a digital file. Additional color correction was performed by Radiance Films in 2025."

Je t'aime, je t'aime comes on a 50 GB dual layer Blu-ray.

Disc Size: 43.9 GB

Feature: 27.6 GB

Though this release uses the same source that Kino Lorber used for their 2015 Blu-ray, when it comes to colors, Radiance Films have done additional work. That said, the colors are more visually appealing and look more natural when compared to Kino Lorber’s release. Flesh tones look healthy, image clarity, contrast, black levels, and compression are solid, and the image retains an organic look. Furthermore, this is another exemplary encode from Fidelity in Motion.

Audio: 5/5

This release comes with one audio option, a LPCM mono mix in French with removable English subtitles. It should be noted that there is some dialog in English and Dutch. That said, most of the dialogue is in French. The audio is in excellent shape. Dialog comes through clearly, and everything sounds balanced and robust when it should.

Extras:

Extras for this release include an archival audio interview with director Alain Resnais (12 minutes 43 seconds, Dolby Digital stereo French with removable English subtitles), an archival interview with actor Claude Rich (15 minutes 45 seconds, Dolby Digital stereo French with removable English subtitles), an archival interview with screenwriter Jacques Sternberg and film historian and Resnais expert François Thomas (20 minutes 31 seconds, Dolby Digital stereo French with removable English subtitles), an interview with critic and David Jenkins (12 minutes 46 seconds, Dolby Digital stereo English, no subtitles), an archival documentary titled In the Ears of Alain Resnais, featuring Alain Resnais collaborators and critics, actor Lambert Wilson, writer and actress Agnés Jaoui, critic Michel Ciment and others (54 minutes 31 seconds, Dolby Digital stereo French with removable English subtitles), reversible cover art, removable OBI strip leaving packaging free of certificates and a 20-page booklet with cast & crew information, an essay titled Beyond the Sea written by Catherine Wheatley, and information about the transfer.

Summary:

Alain Resnais directed Je t'aime, je t'aime. He’s known for Night and Fog, Hiroshima Mon Amour, and Last Year at Marienbad.

The narrative centers on a man who has recently attempted suicide and agrees to participate in a time-travel experiment, where the only test subjects thus far have been mice. Along the way, a malfunction in the machine allows the man to relive moments from his past in a random order.

Once something has happened, there is a finality to that moment, which in the majority of instances makes it near impossible to change the course that has been set in motion from said moment in time. This is precisely what happens to the protagonist in the Je t'aime, je t'aime. His life is turned upside down when his girlfriend decides to leave him. From there, he can simply move on and try to cope with his pain. Instead, he decides to take the easy way out by attempting suicide. Fortunately for him, he fails in his attempt to end it all, and he is now given an additional alternative to achieve what he desires most. He is regaining the love he has lost by returning to the moment when things were perfect in his now-failed relationship.

Though there have been numerous films that delve into the subject matters of time travel and suicide, it is safe to say that no film before or since has combined these two subjects like the way they are presented in Je t'aime, je t'aime. In fact, by the time Je t'aime, je t'aime has settled in, these two things are pushed to the background as a new focus has shifted to the protagonist's past. The bulk of Je t'aime, je t'aime revolves around a series of events from the protagonist's past. These events from his past feature him with several different women, and the tone of these moments is both happy and sad, with the bulk of these moments falling into the latter category.

Performance-wise, the cast is great in their roles, especially Claude Rich (The Bride Wore Black), who portrays the protagonist Claude Ridder. The weight of Je t'aime, je t'aime rides on the shoulders of his performance, which is extraordinary. Another performance of note is Olga Georges-Picot (Farewell Friend) in the role of Catrine, the woman that Claude Ridder’s character obsesses over the love they once shared.

Structurally, though, the narrative starts off on a straight path; things become more entangled once the protagonist starts to revisit moments from his past. Which are presented in random order, and they vary in their duration. That said, there are bound to be those who find this nonlinear section of the film difficult to digest. And repeated viewings are a must to fully appreciate all of Je t'aime, je t'aime’s nuances.

Je t'aime, je t'aime gets a definitive release from Radiance Films, highly recommended.

Written by Michael Den Boer

Shawscope Volume Three: Limited Edition – Arrow Video (Blu-ray/CD Combo)

Theatrical Release Dates: Hong Kong, 1967 (One-Armed Swordsman), Hong Kong, 1969 (Return of the One-Armed Swordsman), Hong Kong, 1971 (The New One-Armed Swordsman, The Lady Hermit), Hong Kong, 1972 (Intimate Confessions of a Chinese Courtesan, The 14 Amazons), Hong Kong, 1976 (The Magic Blade), Hong Kong, 1977 (Jade Tiger, The Sentimental Swordsman), Hong Kong, 1978 (The Avenging Eagle), Hong Kong, 1980 (Killer Constable), Hong Kong, 1982 (Buddha's Palm), Hong Kong, 1983 (Bastard Swordsman)
Directors: Chang Cheh (One-Armed Swordsman, Return of the One-Armed Swordsman, The New One-Armed Swordsman), Ho Meng-Hua (The Lady Hermit), Chor Yuen (Intimate Confessions of a Chinese Courtesan, The Magic Blade, Clans of Intrigue, Jade Tiger, The Sentimental Swordsman), Cheng Kang (The 14 Amazons), Sun Chung (The Avenging Eagle), Chih-Hung Kwei (Killer Constable), Taylor Wong (Buddha's Palm), Lu Chin-ku (Bastard Swordsman)
Cast: Jimmy Wang Yu, Lisa Chiao Chiao, Tien Feng, Angela Pan (One-Armed Swordsman), Jimmy Wang Yu, Lisa Chiao Chiao, Essie Lin Chia, Ti Lung (Return of the One-Armed Swordsman), David Chiang, Ti Lung, Lee Ching, Ku Feng (The New One-Armed Swordsman), Cheng Pei-Pei, Shih Szu, Lo Lieh, Sammo Hung Kam-Bo (The Lady Hermit), Lily Ho, Betty Pei Ti, Yueh Hua (Intimate Confessions of a Chinese Courtesan), Ivy Ling Po, Lily Ho, Lisa Lu, Yueh Hua (The 14 Amazons), Ti Lung, Lo Lieh, Lily Li (The Magic Blade), Ti Lung, Elliot Ngok, Lee Ching, Nora Miao (Clans of Intrigue), Ti Lung, Yueh Hua, Lily Li, Lo Lieh, Shih Szu (Jade Tiger), Ti Lung, Ching Li, Derek Yee, Yueh Hua (The Sentimental Swordsman), Ti Lung, Alexander Fu Sheng, Ku Feng, Wang Lung-wei, Eddy Ko (The Avenging Eagle), Chen Kuan-tai, Ku Feng, Dick Wei (Killer Constable), Derek Yee, Alex Man, Kara Hui, Lo Lieh (Buddha's Palm), Norman Chui, Tony Liu, Wong Yung, Leanne Liu, Alex Man (Bastard Swordsman)

Release Date: November 25th, 2024 (UK), November 26th, 2024 (USA)
Approximate Running Times: 115 Minutes 36 Seconds (One-Armed Swordsman), 109 Minutes 34 Seconds (Return of the One-Armed Swordsman), 102 Minutes 33 Seconds (The New One-Armed Swordsman), 102 Minutes 38 Seconds (The Lady Hermit), 90 Minutes 35 Seconds (Intimate Confessions of a Chinese Courtesan), 129 Minutes 51 Seconds (The 14 Amazons), 101 Minutes 11 Seconds (The Magic Blade), 98 Minutes 18 Seconds (Clans of Intrigue - Censored Version), 99 Minutes 46 Seconds (Clans of Intrigue - Uncensored Version), 104 Minutes 55 Seconds (Jade Tiger), 103 Minutes 17 Seconds (The Sentimental Swordsman), 93 Minutes 9 Seconds (The Avenging Eagle), 98 Minutes 21 Seconds (Killer Constable), 96 Minutes 52 Seconds (Buddha's Palm), 97 Minutes 5 Seconds (Bastard Swordsman)
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC (All Films)
Rating: 18 (UK), NR (USA)
Sound: LPCM Mono Mandarin (All Films), LPCM Mono Cantonese (Clans of Intrigue, The Sentimental Swordsman, The Avenging Eagle, Buddha's Palm), LPCM Mono English - All Films Except Clans of Intrigue, The Sentimental Swordsman, The Avenging Eagle)
Subtitles: English (All Films), English SDH (All Films Except Clans of Intrigue, The Sentimental Swordsman, The Avenging Eagle)
Region Coding: Region A,B
Retail Price: £169.99 (UK), $199.95 (USA)

"Before Hong Kong's mightiest film studio mastered the art of the kung fu film, Shaw Brothers hit box office gold with a very different kind of martial arts cinema, one that channelled the blood-soaked widescreen violence of Japanese samurai epics and Italian spaghetti westerns into a uniquely Chinese form: the wuxia pian. With their enthralling tales drawn from historical myth and legend of sword-wielding (and often gravity-defying) noble heroes, the wuxia films housed in this next instalment of Arrow Video's best-selling Shawscope series demonstrate the sweeping stylistic evolution of the genre, from the righteous stoicism of the late-60s Mandarin period, right through to the wild-and-weird anarchism of the early-80s Cantonese explosion.

The iconic One-Armed Swordsman trilogy, directed between 1967 and 1971 by wuxia cinema godfather Chang Cheh, made household names of stars Wang Yu and David Chiang and set the gory template for many of the films to come. Contrary to Chang's tales of loyal brotherhood, many wuxia films focused on female protagonists, three very different examples of which we see next: Ho Meng-hua's The Lady Hermit, with the great Cheng Pei-pei (Come Drink with Me) as a virtuous swordswoman called upon to stop a vicious warlord; Chor Yuen's scandalous Intimate Confessions of a Chinese Courtesan in which the titular lady of the night masters every deadly skill she can to get revenge on those who enslaved her; and Cheng Kang's all-star epic The 14 Amazons, in which Shaws' finest starlets play the real-life women of the Yang dynasty, avenging their fallen menfolk in battle.

Next, Chor Yuen adapted several beloved novels by consummate wuxia storyteller Gu Long to the big screen, four of which are collected here: The Magic Blade, Clans of Intrigue, Jade Tiger and The Sentimental Swordsman, all starring the redoubtable Ti Lung. As kung fu overtook wuxia at the box office, the genre evolved into unexpected new directions, with its chivalrous knights-errant replaced by conflicted antiheroes, as seen in Sun Chung’s breathlessly exciting The Avenging Eagle and Boxer's Omen goremeister Kuei Chih-hung's fatalistic masterpiece Killer Constable. Finally, just when it seemed the wuxia film had nowhere left to turn, Eighties excess reigned supreme in the special-effects-soaked, fourth-wall-breaking fantastical delights of Taylor Wong's Buddha's Palm and Lu Chun-ku's Bastard Swordsman." - synopsis provided by the distributor

Video: 4.5/5 (One-Armed Swordsman, Return of the One-Armed Swordsman: The Avenging Eagle), 4.25/5 (The New One-Armed Swordsman, The 14 Amazons, The Sentimental Swordsman, Killer Constable, Buddha's Palm, Bastard Swordsman), 4/5 (The Lady Hermit, Intimate Confessions of a Chinese Courtesan, The Magic Blade, Clans of Intrigue, Jade Tiger)

Here’s the information provided about the transfers, "One-Armed Swordsman was restored in 4K resolution by Celestial Pictures and L'Immagine Ritrovata in 2020. Additional grading was completed at R3store Studios, London in 2024.

Return of the One-Armed Swordsman, The New One-Armed Swordsman, The Lady Hermit, Intimate Confessions of a Chinese Courtesan, The 14 Amazons, The Magic Blade, Clans of Intrigue, Jade Tiger, The Sentimental Swordsman, The Avenging Eagle, Killer Constable, Buddha's Palm and Bastard Swordsman have all been newly restored by Arrow Films in 2024, in collaboration with L'Immagine Ritrovata, Hong Kong Film Archive and Celestial Pictures. The original 35mm negatives for these films were scanned at L'Immagine Ritrovata Asia and restored in 2K resolution at L'Immagine Ritrovata, Bologna. Return of the One-Armed Swordsman, The New One-Armed Swordsman, Intimate Confessions of a Chinese Courtesan, The 14 Amazons, The Avenging Eagle, Killer Constable and Buddha's Palm were graded at R3store Studios, Lady Hermit, The Magic Blade, Clans of Intrigue, Jade Tiger, The Sentimental Swordsman and Bastard Swordsman were graded at Dragon DI, Wales. These restorations have used the entire film negative without resorting to the practice of "framecutting" resulting in the loss of film frames at each negative splice point.

All original materials supplied for these restorations were made available from the Hong Kong Film Archive via Celestial Pictures. The additional sequences in the uncensored version of Clans of Intrigue were sourced from a 35mm print held by Celestial Pictures. For the presentation of the alternate South Korean cut of Killer Constable, efforts were made to access original film materials for this version held at the Korean Film Archive, but this was not possible. A Korean VHS copy was used as a guide to reconstruct this cut in high definition, using the new 2K restoration of the original Hong Kong version for the bulk of the film and standard-definition inserts for the audio and unique footage. The original trailers were restored by Arrow Films from the original 35mm materials held at the Hong Kong Film Archive."

One-Armed Swordsman comes on a 50 GB dual layer Blu-ray.

Disc Size: 45.4 GB

Feature: 24.5 GB

Return of the One-Armed Swordsman and The New One-Armed Swordsman come on a 50 GB dual layer Blu-ray.

Disc Size: 45.2 GB

Feature: 22.5 GB (Return of the One-Armed Swordsman), 21 GB (The New One-Armed Swordsman)

The Lady Hermit and Intimate Confessions of a Chinese Courtesan come on a 50 GB dual layer Blu-ray.

Disc Size: 43.9 GB

Feature: 22.5 GB (The Lady Hermit), 20.1 GB (Intimate Confessions of a Chinese Courtesan)

The 14 Amazons comes on a 50 GB dual layer Blu-ray.

Disc Size: 44.3 GB

Feature: 33 GB

The Magic Blade and Clans of Intrigue come on a 50 GB dual layer Blu-ray.

Disc Size: 45.6 GB

Feature: 21.9 GB (The Magic Blade), 21.6 GB (Clans of Intrigue)

Jade Tiger and The Sentimental Swordsman come on a 50 GB dual layer Blu-ray.

Disc Size: 45.1 GB

Feature: 22.7 GB (Jade Tiger), 21.2 GB (The Sentimental Swordsman)

The Avenging Eagle and Killer Constable come on a 50 GB dual layer Blu-ray.

Disc Size: 46.2 GB

Feature: 19.3 GB (The Avenging Eagle), 20 GB (Killer Constable)

Buddha's Palm and Bastard Swordsman come on a 50 GB dual layer Blu-ray.

Disc Size: 45.1 GB

Feature: 20.3 GB (Buddha's Palm), 23.7 GB (Bastard Swordsman)

Where some transfers from the previous Arrow Video Shawscope's were sourced from existing HD masters, all of the transfers for this release are from brand new 4K or 2K sources. The sources used for all the films are in excellent shape; colors are nicely saturated, black levels and image clarity are strong, and compression is solid. Clans of Intrigue uses seamless branching for the two versions. That said, there is a noticeable drop in quality when it comes to footage exclusive to the uncensored version.

Audio: 4.25/5 - All audio tracks expect; LPCM Mono English - One-Armed Swordsman, LPCM Mono English - Return of the One-Armed Swordsman, LPCM Mono Cantonese - Buddha's Palm, LPCM Mono English - Buddha's Palm 4/5)

One-Armed Swordsman, Return of the One-Armed Swordsman, The New One-Armed Swordsman, The Lady Hermit, Intimate Confessions of a Chinese Courtesan, The 14 Amazons, The Magic Blade, and Killer Constable have two audio options, a LPCM mono mix in Mandarin and a LPCM mono mix in English. Clans of Intrigue, The Sentimental Swordsman, and The Avenging Eagle have two audio options, a LPCM mono mix in Mandarin and a LPCM mono mix in Cantonese. Jade Tiger and Bastard Swordsman have one audio option, a LPCM mono mix in Mandarin. Buddha's Palm has three audio options, a LPCM mono mix in Mandarin, a LPCM mono mix in Cantonese, and a LPCM mono mix in English.

There are English subtitles for Cantonese and Mandarin language tracks and English SDH for English language tracks. One-Armed Swordsman, Return of the One-Armed Swordsman, The New One-Armed Swordsman, The Lady Hermit, The 14 Amazons, The Magic Blade, Killer Constable, Buddha's Palm has a second English subtitle for Mandarin text. The Avenging Eagle has a second English subtitle for Cantonese text. You can only switch subtitles via the audio menu, not during playback.

All the audio mixes are in good shape. There are no issues with distortion or background hiss; dialog comes through clearly, everything sounds balanced, and fight sequences sound robust. That said, there are a few instances where one of the audio tracks sounds more robust than the others.

Extras:

Extras for One-Armed Swordsman include a Hong Kong theatrical trailer (4 minutes 2 seconds, Dolby Digital mono Mandarin with non-removable English subtitles), a Hong Kong theatrical trailer (4 minutes 2 seconds, Dolby Digital mono English, no subtitles), a Chang Cheh trailer gallery (23 minutes, Dolby Digital mono Mandarin with burnt-in English subtitles for all except Heroes Two), a video essay by Brandon Bentley titled One-Armed Side Hustles, he discusses Jimmy Wang Yu's career playing amputee protagonists (16 minutes 6 seconds, Dolby Digital stereo English, no subtitles), an archival interview with filmmaker Daniel Lee (10 minutes 46 seconds, Dolby Digital stereo English, no subtitles), an archival appreciation of director Chang Cheh's work by film historian Sam Ho (22 minutes 21 seconds, Dolby Digital stereo English, no subtitles), an archival interview with actor Ku Feng (18 minutes 47 seconds, Dolby Digital stereo Cantonese with removable English subtitles), an archival interview with actor Chiao Chiao (16 minutes 32 seconds, Dolby Digital stereo Cantonese with removable English subtitles), an archival interview with actor Jimmy Wang Yu titled One-Armed Superstar (41 minutes 15 seconds, Dolby Digital stereo English, no subtitles), an appreciation of the One-Armed Swordsman series by film critic and historian Tony Rayns (38 minutes 9 seconds, Dolby Digital stereo English, no subtitles), and an audio commentary with commentary by David West, author of Chasing Dragons: An Introduction to the Martial Arts Film.

Extras for Return of the One-Armed Swordsman include a Hong Kong theatrical trailer (3 minutes 58 seconds, Dolby Digital mono Mandarin with non-removable English subtitles), a Hong Kong theatrical trailer (3 minutes 58 seconds, Dolby Digital mono English, no subtitles), and an audio commentary with film critic Samm Deighan.

Extras for The New One-Armed Swordsman include a Hong Kong theatrical trailer (3 minutes 21 seconds, Dolby Digital mono Mandarin with non-removable English subtitles), a Hong Kong theatrical trailer (3 minutes 21 seconds, Dolby Digital mono English, no subtitles), German theatrical trailer (3 minutes 2 seconds, Dolby Digital mono German with removable English subtitles), U.S. theatrical trailer (2 minutes 2 seconds, Dolby Digital mono English, no subtitles), two U.S. TV spots (1 minute 27 seconds, Dolby Digital mono English, no subtitles), and an audio commentary with martial arts cinema expert Brian Bankston.

Extras for The Lady Hermit include a Hong Kong theatrical trailer (4 minutes 27 seconds, Dolby Digital mono Mandarin with non-removable English subtitles), a Hong Kong theatrical trailer (4 minutes 27 seconds, Dolby Digital mono English, no subtitles), and an audio commentary with film critic James Mudge.

Extras for Intimate Confessions of a Chinese Courtesan include a Hong Kong theatrical trailer (3 minutes 21 seconds, Dolby Digital mono Mandarin with non-removable English subtitles), a Hong Kong theatrical trailer (3 minutes 21 seconds, Dolby Digital mono English, no subtitles), alternate English credits (2 minutes, Dolby Digital mono), an audio commentary with Tony Rayns, and an audio commentary with Samm Deighan.

Extras for The 14 Amazons include a Hong Kong theatrical trailer (3 minutes 30 seconds, Dolby Digital mono Mandarin with removable English subtitles), a Hong Kong theatrical trailer (4 minutes 3 seconds, Dolby Digital mono Mandarin with burnt-in English subtitles), a Hong Kong theatrical trailer (3 minutes 30 seconds, Dolby Digital mono English, no subtitles), an archival interview with film critic Law Kar (16 minutes 4 seconds, Dolby Digital stereo Cantonese with removable English subtitles), an archival interview with film historian Bede Cheng (10 minutes 34 seconds, Dolby Digital stereo Cantonese with removable English subtitles), an archival interview with stuntwoman Sharon Yeung (12 minutes 40 seconds, Dolby Digital stereo Cantonese with removable English subtitles), and an audio commentary with Jonathan Clements, author of A Brief History of China.

Extras for The Magic Blade include a Hong Kong theatrical trailer (3 minutes 57 seconds, Dolby Digital mono Mandarin with non-removable English subtitles), a Hong Kong theatrical trailer (3 minutes 57 seconds, Dolby Digital mono English, no subtitles), and an audio commentary with Samm Deighan.

Extras for Clans of Intrigue include a Hong Kong theatrical trailer (3 minutes 5 seconds, Dolby Digital mono Mandarin with non-removable English subtitles), a Hong Kong theatrical trailer (4 minutes 4 seconds, Dolby Digital mono Mandarin with burnt-in English subtitles), a Hong Kong theatrical trailer (3 minutes 5 seconds, Dolby Digital mono Cantonese with removable English subtitles), and an audio commentary with James Mudge.

Extras for Jade Tiger include a Hong Kong theatrical trailer (3 minutes 24 seconds, Dolby Digital mono Mandarin with removable English subtitles), and an audio commentary with film critic Ian Jane.

Extras for The Sentimental Swordsman include a Hong Kong theatrical trailer (3 minutes 6 seconds, Dolby Digital mono Mandarin with non-removable English subtitles), a Hong Kong theatrical trailer (3 minutes 37 seconds, Dolby Digital mono Mandarin with burnt-in English subtitles), a Hong Kong theatrical trailer (3 minutes 6 seconds, Dolby Digital mono Cantonese with removable English subtitles), and an audio commentary with David West.

Extras for The Avenging Eagle include a Hong Kong theatrical trailer (3 minutes 46 seconds, Dolby Digital mono Cantonese with removable English subtitles), a Hong Kong theatrical trailer (3 minutes 46 seconds, Dolby Digital mono English, no subtitles), a Hong Kong theatrical trailer (3 minutes 53 seconds, Dolby Digital mono English, no subtitles), alternate English language title sequence (2 minutes 30 seconds, Dolby Digital mono), and an audio commentary with martial arts cinema expert Frank Djeng.

Extras for Killer Constable include a Hong Kong theatrical trailer (3 minutes 17 seconds, Dolby Digital mono Mandarin with removable English subtitles), a Hong Kong theatrical trailer (3 minutes 21 seconds, Dolby Digital mono Mandarin with removable English subtitles), a Hong Kong theatrical trailer (3 minutes 17 seconds, Dolby Digital mono English, no  subtitles), alternate English language title sequence (1 minute 40 seconds, Dolby Digital mono English, no subtitles), additional and alternate scenes from the South Korean version of Killer Constable (34 minutes 15 seconds, Dolby Digital mono Korean with removable English subtitles), an audio commentary with Tony Rayns, an audio commentary with Frank Djeng, and an audio commentary with Brian Bankston.

Extras for Buddha's Palm include a Hong Kong theatrical trailer (2 minutes 42 seconds, Dolby Digital mono Cantonese with removable English subtitles), alternate English language title sequence (1 minute 22 seconds, Dolby Digital mono English, no subtitles), and an audio commentary with film critic and translator Dylan Cheung.

Extras for Bastard Swordsman include a Hong Kong theatrical trailer (2 minutes 53 seconds, Dolby Digital mono Cantonese with removable English subtitles), and an audio commentary with Frank Djeng.

Extras on a bonus disc include a High Definition (with standard-definition VHS inserts) presentation of the rare Korean version of Killer Constable with newly-translated English subtitles, featuring over half an hour of exclusive alternate footage never released outside South Korea before (104 minutes 53 seconds, LPCM mono Korean with removable English subtitles), an appreciation of director Chor Yuen by Tony Rayns (39 minutes 11 seconds, Dolby Digital stereo English, no subtitles), an archival interview with stuntwoman Sharon Yeung, she worked on Intimate Confessions of a Chinese Courtesan (4 minutes 51 seconds, Dolby Digital stereo Cantonese with removable English subtitles), an archival appreciation of Intimate Confessions of a Chinese Courtesan by by academic Sze Man-hung, musician Kwan King-chung, and filmmaker Clarence Fok (18 minutes 1 second, Dolby Digital stereo Cantonese with removable English subtitles), an archival interview with actor Ti Lung (21 minutes 2 seconds, Dolby Digital stereo English, no subtitles), an archival interview with director Chor Yuen (13 minutes 22 seconds, Dolby Digital stereo Cantonese with removable English subtitles), an archival interview with actor Yuen Wah (17 minutes 34 seconds, Dolby Digital stereo Cantonese with removable English subtitles), an archival interview with actor Li Ching (14 minutes 56 seconds, Dolby Digital stereo Cantonese with removable English subtitles), an archival interview with screenwriter Sze-to On (15 minutes 59 seconds, Dolby Digital stereo Cantonese with removable English subtitles), an archival appreciation by Sam Ho (14 minutes 11 seconds, Dolby Digital stereo Cantonese with removable English subtitles), an archival interview with actor Ku Feng (9 minutes 12 seconds, Dolby Digital stereo Cantonese with removable English subtitles), and an archival interview with actor Eddy Ko (6 minutes 31 seconds, Dolby Digital stereo English, no subtitles).

Disc ten is a CD titled More Music from Shaw Brothers Classics, which contains 35 tracks. The music is from the De Wolfe Music library as heard in 11 of the films: The Sentimental Swordsman, Killer Constable, The Avenging Eagle, Bastard Swordsman, Mighty Peking Man, Chinatown Kid, Invincible Shaolin, The Five Venoms, Mad Monkey Kung Fu, Five Superfighers, and The Boxer’s Omen.

Other extras include a 60-page book with an essay titled One Hundred Years of Chivalry written by David West, cast and crew information, film notes, trivia for each film written by Ian Jane, an essay titled Drunken Master: Gu Long written by Jonathan Clements, an essay titled The Legend of Five Station Mountain: Shaw Brothers’ Conquest of the Television Jianghu written by Dylan Cheung, and information about the restorations/transfers.

Summary:

One-Armed Swordsman: A servant gives his own life to save that of his master, who in return agrees to train and treat the servant’s son, Fang Gang, as his own child. Flash forward years later, Fang Gang, now a grown man, has become the master's premier student, which alienates him from the master's only child, his daughter Qi Pei Er. Two students and Qi Pei Er ambush Fang Gang, who has decided to leave the school. During the ambush, Qi Pei Er accidentally cuts off Fang Gang’s right arm. A farm girl nurses Fang Gang back to health after he survives a nearly fatal wound, and he falls in love with her. Flash forward: an enemy of Fang Gang’s master reemerges, and his knowledge of his masters’ enemies’ secret weapon is his only hope for survival.

By the early 1960s, Hong Kong cinema shifted away from propaganda films and started to make films that more resembled the Hollywood system in the west. Starting in the 1960s, Hong Kong cinema shifted its focus to genre cinema that could reach a global audience beyond China. Around this time, the premiere film studio in China was the famed Shaw Brothers Studios, where a handful of directors, notably Chang Cheh, would help open the rest of the world to Chinese cinema. Chang Cheh was the Shaw Brothers number one director in the late 1960s and 1970s.He directed some of their most memorable films and played a part in the reinvention of many genres, helping create new clichés. He would continue to work with the Shaw Brothers until the studio finally closed down operations in the 1980s.

One-Armed Swordsman was Chang Cheh’s breakout film. It has many themes and elements that he would return to throughout his career, and it set him apart from his peers. Though there were Wuxia films before One-Armed Swordsman, it is a film that turned this genre on its head. When it came to swordplay and martial arts, One-Armed Swordsman was a film ahead of its time. Something that I really enjoyed about One-Armed Swordsman is how it draws you in and makes you forget that everything around you is on a soundstage and artificially created. Shooting on a stage, instead of on location, gives The One-Armed Swordsman a dreamlike quality that gritty realism would have destroyed.

All film studios have their stars, and in the late 1960s, no one was bigger than Jimmy Wang Yu at Shaw Brothers. He portrays the protagonist, Fang Gang, who loses his right arm when an opponent catches him off guard. He delivers a phenomenal performance that sets the template for similar antihero characters which followed. Also, Jimmy Wang Yu would make a career out of portraying disfigured characters. The other performances of note are the two lead actresses: Angela Pan (Come Drink with Me), who portrays Qi Pei Er, Fang Gang’s master's daughter and the person who cut his arm off, and Lisa Chiao Chiao (The Assassin), who portrays the farm girl who falls in love with Fang Gang.

Content wise, One-Armed Swordsman was a perfect fit for its star and director. The narrative is perfectly executed. There are no lulls; it does a superb job building momentum and giving key moments ample time to resonate. Another strength of the narrative is the arc of the protagonist's journey; so much happens in just 116 minutes. When it comes to the carnage, it is brutal, and at times grotesque; arms and hands are chopped off. Ultimately, One-Armed Swordsman is an extraordinary film that deserves its reputation, making it a must-see for fans of Wuxia films.

Return of the One-Armed Swordsman: Fang Gang has given up sword fighting, and now he lives in the country with his wife, Xiao Man. The Eight Sword Kings forced him back into sword fighting, though he has been keeping a low profile. Each of the Eight Sword Kings has their own unique fighting style and weapon.

Chang Cheh, who directed One-Armed Swordsman, returns for its sequel, Return of the One-Armed Swordsman. He is known for Golden Swallow, The Boxer From Shantung, The Water Margin, and Five Venoms.

Return of the One-Armed Swordsman places the protagonist Fang Gang in a protective role, whereas One-Armed Swordsman was a revenge-based film. This time around, Fang Gang is a reluctant hero who made a promise to his wife that he will never fight again. In order to convince Fang Gang to help them in their fight against Eight Sword Kings, one fighter cuts his own arm off.

Return of the One-Armed Swordsman is headlined by Jimmy Wang Yu, who reprises the role of Fang Gang. He delivers another exemplary performance that builds upon the foundation he laid with One-Armed Swordsman. Though Ti Lung (The Deadly Duo) has a minor role, he makes the most of his limited screen time. Another performance of note is Essie Lin Chia (The Singing Thief), who portrays Thousand Hands King, a female assassin who seduces her victims before she strikes.

Return of the One-Armed Swordsman is non-stop action, and an onslaught of carnage makes it more action-heavy than its predecessor. The narrative opens and closes with two lengthy action set pieces. That said, all of the action sequences are excellent, and they have all of the bloodshed that one expects from a Chang Cheh film. Ultimately, Return of the One-Armed Swordsman is a solid sequel that holds up well to its predecessor.

The New One-Armed Swordsman: A devious martial arts master who exploits a secret technique that his opponents cannot counter targets young swordsmen.

Chang Cheh directed The New One-Armed Swordsman. He is known for his films: One-Armed Swordsman, Golden Swallow, The Boxer From Shantung, The Water Margin, and Five Venoms.

The New One-Armed Swordsman is a sequel in name only to One-Armed Swordsman and Return of the One-Armed Swordsman. Where those two films had a protagonist named Fang Gang, The New One-Armed Swordsman has a new character named Lei Li. Besides a different protagonist, where Jimmy Ang Yu portrayed the one-armed swordsman in the first two films, this time around David Chiang assumes the role.

One thing that can be said about the films of Chang Cheh is that he knows how to create thrilling opening credits. The narrative quickly dives into the action with a sequence where the protagonist meets his match and is forced to cut off his arm. That said, this opening setup does a phenomenal job setting the foundation for what follows.

David Chiang (The Heroic Ones) delivers an excellent performance in the role of Lei Li, a cocky swordsman who becomes humbled after losing his arm. Another performance of note is Ti Lung (A Better Tomorrow), who portrays a skilled swordsman who befriends Lei Li. Ti Lung’s character fights with two swords. That said, when it comes to the rest of the cast, no performance is lacking.

Something you can always count on with a Chang Cheh is bloody carnage, and The New One-Armed Swordsman has an abundance. Many of the kills are gruesome; one character is cut in half, and others have their limbs cut off. Another area where Chang Cheh excels as a filmmaker is how he poses corpses, giving them a heroic death. 

Flashbacks enhance the well-executed narrative, and pacing is never an issue as things move briskly. Another strength of the narrative is how effectively it builds momentum to a bloodbath finale where the protagonist is greatly outnumbered. Ultimately, The New One-Armed Swordsman is another exemplary martial arts film from Chang Cheh that retains the spirit of its predecessors.

The Lady Hermit: A young student looks for a reclusive martial arts master to teach her the skills she needs to defeat the Black Demon.

Ho Meng-Hua directed The Lady Hermit. He is known for The Human Goddess, Kiss of Death, Black Magic, The Oily Maniac, and Mad Monkey Kung Fu.

Hong Kong action cinema, when compared to its Western counterpart, has long been ahead of the curve when it comes to women in prominent roles. Case in point, Cheng Pei-Pei, who rose to prominence after Come Drink with Me, and for the next five years she was one of The Shaw Brothers biggest stars. In The Lady Hermit, she would portray a reclusive swordfighter named Leng Yu-shuang, aka The Lady Hermit. Her character is cut from the mold of the type of characters she often portrayed, and once again she delivers a spectacular performance.

The Lady Hermit is a master-and-student story in which the student needs the master's help to take down the formidable Black Demon. At first the master is reluctant to help, since she retreated from a life as a swordswoman after her own near-death experience at the hands of Black Demon. When Leng Yu-shuang finally gives in and agrees to mentor Tsui Ping, it allows both of them to get their revenge against Black Demon.

Another performance of note is Shih Szu (Shaolin Temple), who portrays Tsui Ping. Her character's evolution is one of The Lady Hermit’s strongest assets. The master teacher dynamic between Cheng Pei-Pei and Shih Szu is symbolic since the former was coming to the end of her run with The Shaw Brothers while the latter was on her way up. Other cast members of note are Lo Lieh (Golden Swallow), who portrays a swordsman who befriends Leng Yu-shuang, and Wang Hsieh’s (The Oily Maniac) diabolical portrayal of Black Demon.

Though the narrative follows a familiar arch, there are never any issues when it comes to building momentum. Content-wise, The Lady Hermit has all of the elements one expects from a Wuxia film. The fight scenes and stunt work are phenomenal. The Lady Hermit has a familiar uncredited music cue from Daimajin. Ultimately, The Lady Hermit is an exceptional example of a Wuxia that greatly benefits from its two female lead performances.

Intimate Confessions of a Chinese Courtesan: A young woman who was tricked into working at a brothel gives in to her captors when her attempts at rebellion are met with harsh punishment. From there she becomes the brothel's most desired courtesan, while she secretly plots her revenge.

Chor Yuen directed Intimate Confessions of a Chinese Courtesan. He is known for Killer Clans, The Magic Blade, Sentimental Swordsman, and Clans of Intrigue.

Intimate Confessions of a Chinese Courtesan has an exemplary pre-credits sequence that is shot in sepia tone. Snow is falling on a corpse as police arrive at a brothel run by a notorious madame who kidnaps women and forces them to work for her. This moment perfectly foreshadows what is to come by providing clues about who could have committed this crime.

Without giving too much away about the plot, Intimate Confessions of a Chinese Courtesan is a film rooted in revenge. Though the narrative reveals long before its finale the who's and the why's behind the revenge, that is not to say that the narrative loses any of its potency as it builds towards its blood-soaked high body count finale. And when it comes to pacing, there is never an issue with momentum.

All around the performances are excellent; especially Lily Ho’s (Lady with a Sword) portrayal of Ainu, a woman forced to be a Courtesan. Her character's transformation from a broken woman who gave up all hope to a master manipulator is superbly pulled off. Another performance of note is Betty Pei Ti (Clans of Intrigue), who portrays Chun Yi, the sadistic brothel madame.

Though The Shaw Brothers are primarily known for their martial arts films, their forays into other genres, specifically exploitation films in the 1970s, are films that deserve a much wider audience. Case in point, Intimate Confessions of a Chinese Courtesan, a film that perfectly balances elements that The Shaw Brothers are known for with exploitation elements. That said, Intimate Confessions of a Chinese Courtesan is not like any of The Shaw Brothers other forays into erotica.

Despite not being a martial arts film, that is not to say that Intimate Confessions of a Chinese Courtesan does not have an ample amount of action sequences. The action and kill sequences are excellent; they are filled with style and overflowing with carnage. A lot of 1970s Hong Kong cinema has familiar uncredited music cues; Intimate Confessions of a Chinese Courtesan has two Pink Floyd tracks: Come In Number 51, Your Time Is Up and Heart Beat, Pig Meat. Ultimately, Intimate Confessions of a Chinese Courtesan is an exemplary example of revenge cinema, making it a must-see for fans of this genre.

The 14 Amazons: When an invading army kills off the patriarch of the Yang family, its matriarch puts together an army led by females to avenge his death and defend their country.

The 14 Amazons immediately draw you in with a bloody battle sequence in which a general narrowly escapes death. Instead of fleeing with the survivors, the general stays behind and sacrifices himself. This character's heroism perfectly sets the stage for what follows. That said, The 14 Amazons is a film rooted in heroism and loyalty where the bad guys always fight dirty.

The 14 Amazons is an epic tale, and a lot happens in 130 minutes. To help with the flow of information, characters are introduced via onscreen text. Though the narrative has many peaks and valleys, these are all perfectly timed for maximum effect. And momentum is never an issue as things build to a bloody final that provides a very satisfying coda.

The cast is filled with recognizable faces, and performance-wise, everyone is very good. Though The 14 Amazons can be seen as an ensemble cast, Lily Ho (The Water Margin), who portrays the slain general’s heir apparent, shines the brightest. Gendered swapping in Hong Kong cinema is not uncommon; in The 14 Amazons, Lily Ho portrays a boy. Other performances of note are Lisa Lu, who portrays She Saihua, the mother of the slain general and formidable warrior in her own right, and Lo Lieh (Orm-Armed Swordsman), who portrays one of the sons of the king of West Hsia.

A main conflict that drives the narrative revolves around the refusal to send more troops in the fight against the king of West Hsia. Despite the Yang family's loyalty to the Song dynasty, one of the emperor's most trusted advisers blocks all attempts to send more troops. The Yang family women take matters into their own hands despite being greatly outnumbered.

The narrative does a superb job balancing action sequences and exposition moments. The action sequences and the stunt work are exemplary; in one scene, characters use their bodies to form a human bridge. Another strength of the action sequences is how the female fighters come up with inventive ways to throw off their opponents. Ultimately, The 14 Amazons is reminiscent of Chang Cheh’s brand of heroic bloodshed with women at the forefront.

The Magic Blade: Rival swordsmen join forces to prevent the Peacock dart from falling into the hands of evil.

Chor Yuen directed The Magic Blade. He is known for Killer Clans, Intimate Confessions of a Chinese Courtesan, Sentimental Swordsman, and Clans of Intrigue.

Though Cheng Cheh is widely regarded as the Shaw Brothers' most important director, Chor Yuen is also highly regarded. Besides directing the influential Intimate Confessions of a Chinese Courtesan, a film that jump-started The Shaw Brothers forays into erotica, he also worked extensively on Wuxia films. That said, it is his Wuxia films from the latter half of the 1970s that cemented his legacy.

When it comes to action sequences, this is an area where the Shaw Brothers rarely came up short. The action sequences and stunt work in The Magic Blade are exemplary. The Magic Blade's action sequences feature a variety of weapons, notably the coveted peacock dart. The biggest and best action sequence is saved for the finale, where one character reveals their true colors.

The cast is all great in their roles, especially Ti Lung (The Deadly Duo) and Lo Lieh (King Boxer); they portray rival swordsmen who join forces. Another strength of their performances is their onscreen chemistry. Tang Ching's (Bat Without Wings) portrayal of the villainess Master Yu, who covets the Peacock dart, is another performance that stands out. That said, The Magic Blade has a solid supporting cast of recognizable faces. 

Chor Yuen’s direction is flawless, and the narrative does a phenomenal job building momentum to an exceptional finale. While the narrative is action-heavy, it still dedicates enough time to developing characters. Another strength of the narrative is how it uses onscreen text to introduce characters. Ultimately, The Magic Blade is an enthralling film that perfectly blends action and fantasy.

Clans of Intrigue: A man accused of killing three clan leaders is given one month to clear his name.

Chor Yuen directed Clans of Intrigue. He is known for Killer Clans, Intimate Confessions of a Chinese Courtesan, Sentimental Swordsman, and The Magic Blade.

Clans of Intrigue is an exemplary Wuxia film that also serves as a whodunit. Framed for three murders, Chu Liuxiang, the protagonist, has only one clue: a painting of a woman. Her identity holds the key to clearing his name, and along the way, danger awaits him at every corner. Every time he gets closer to the truth, someone intervenes. That said, the narrative is filled with intrigue, and this film definitely lives up to its name.

For how quickly the Shaw Brothers put out films, I am always amazed how fresh the action sequences are. Though premises are recycled, the action sequences are always inventive and never feel familiar. Another strength of the action sequences is how each new one tops the previous, saving its best for the finale, where all secrets are finally revealed.

All around, the cast is excellent in their respective roles, especially Betty Pei Ti (Intimate Confessions of a Chinese Courtesan), who portrays a princess named Shuimu Yinji. Her character is all about physical presence, and she delivers in spades. Ti Lung (City War) is cast in the role of the hero, and his character, Chu Liuxiang, has a tick; his sinuses’ flare up whenever trouble is near. Other performances of note are Nora Miao (Fists of Fury), who portrays one of the princess's most trusted fighters, and Yueh Wah (The Kung Fu Instructor), who portrays a Shaolin monk.

The well-executed narrative very effectively uses flashbacks to enhance the story that unfolds. There is a perfect blend of action and exposition, and pacing is not an issue since the narrative does a superb job maintaining momentum. Another area where Clans of Intrigue stands out is its ability to create a foreboding atmosphere. Ultimately, Clans of Intrigue is an excellent revenge-themed Wuxia that fans of this genre will thoroughly enjoy.

Jade Tiger: A rival betrayed the martial arts clan leader, and his son vows to avenge his death.

Chor Yuen directed Jade Tiger. He is known for Killer Clans, Intimate Confessions of a Chinese Courtesan, Clans of Intrigue, Sentimental Swordsman, and The Magic Blade.

Jade Tiger begins with a brutal opening sequence where a father is beheaded by a rival on his son’s wedding day. Besides killing the leader of a martial arts clan, the traitor also takes with them a jade document that has an important document hidden inside. These events set in motion a battle between good and evil for the control of the martial world.

In his quest for vengeance, the son faces a treacherous journey where he encounters assassins determined to silence him once and for all. The assassins are a colorful assortment of killers who each have their own unique weapons and fighting styles. One assassin throws eyeballs that explode, while another is a child with a red lantern and an umbrella. That said, all of the action sequences are overflowing with inventiveness.

Performance-wise, all of the cast are great in their roles; Lo Lieh (The 36th Chamber of Shaolin) portrays the leader of the Tang clan, whose mastery of poisons is unrivaled. Ti Lung (Five Shaolin Masters) is ever reliable in the role of Zhao Wuji, the son of the murdered clan leader, Shih Szu (The Lady Hermit), and Yueh Hua (Brothers Five) portray brother and sister fighters who owe allegiance to the Tang clan. Another performance of note is Lily Li (Black Magic), who portrays Zhao Wuji’s sister.

Chor Yuen’s direction is solid; he has a knack for creating tense moments. There is a satisfying balance of action sequences and exposition moments, and there are so many double crosses that your head will be spinning. Everything culminates with an exceptional finale where the good guys work their way through a series of obstacles as they try to destroy the Tang clan’s poison factory once and for all. Ultimately, Jade Tiger is a satisfying mix of betrayal, loyalty, and revenge, making it a must-see film for fans of classic martial arts cinema.

The Sentimental Swordsman: A legendary swordsman's extreme ideals caused him to lose everything that mattered to him, inducing the woman he loved. Now he spends his time drinking and traveling with a loyal aide.

Chor Yuen directed The Sentimental Swordsman. He is known for Killer Clans, Intimate Confessions of a Chinese Courtesan, Clans of Intrigue, and The Magic Blade.

Though the narrative is straightforward and easy to follow, there are an abundance of twists and turns. There is a package that passes hands through several characters, and those trying to obtain it leave a trail of bodies. Inside the package is a gold-armored shirt that can withstand any blow, making the one who wears it invincible. There is also a subplot where a woman offers herself to the one who kills her master's murderer.

The cast is all very good in their roles. The standout performance is Ti Lung (All Men Are Brothers) in the role of Little Flying Dagger Li, aka The Sentimental Swordsman. It is easy to see why he was one of the Shaw Brothers top stars, and he once again delivers another exemplary performance. Other performances to note are Derek Yee (Black Lizard), who portrays Ah Fei, a swordsman who befriends Little Flying Dagger Li, and Ching Li (The Boxer from Shantung), the woman Little Flying Dagger Li loved and is now in the arms of another man.

When he’s not being attacked by assassins, Little Flying Dagger Li, who's been framed for a crime he did not commit, tries to stay one step ahead of the law. While all of this is unfolding, there is a masked character called the Plum Blossom Bandit who constantly crosses paths with Little Flying Dagger Li. When it comes to concealing the Plum Blossom Bandit’s identity, the narrative does an excellent job.

Chor Yuen’s direction is impeccable; the action sequences deliver and then some. Though the narrative is action-heavy, there is just the right amount of exposition moments. When it comes to pacing, things always move briskly. Ultimately, The Sentimental Swordsman is a highly entertaining film that fans of classic martial arts cinema should enjoy.

The Avenging Eagle: The leader of the Iron Boat clan recruits and raises orphans to be cold-blooded killers.

Sun Chung directed The Avenging Eagle. He is known for Big Bad Sis, The Avenging Eagle, The Deadly Breaking Sword, To Kill a Mastermind, Human Lanterns, and City War.

The Avenging Eagle puts an inventive twist on the master and student scenario, a staple of the martial arts genre. Where most pupils find a master who is honorable to help them achieve their goals, in The Avenging Eagle, the pupils are taken at a young, impressionable age and indoctrinated to do the opposite. The master and student relationship is put to the test when one of the pupils questions what he’s been asked to do.

The Avenging Eagle is also a film about deception; Chik Ming-sing, the pupil who disobeys his master, conceals his identity from a family who saves him from near death. Chik Ming-sing falls in love with the daughter, and when the Iron Boat clan comes to kill them, he tries to save them. Another connection Chik Ming-sing makes is with a man Cheuk Yi-fan, whose family was murdered by the Iron Boat clan. In the case of this relationship, both men hide their true identities from each other.

All around the performances are outstanding; especially Ti Lung (Opium and the Kung-Fu Master) who portrays Chik Ming-sing and Alexander Fu Sheng (The Brave Archer) who portrays Cheuk Yi-fan. Their on-screen chemistry helps elevate the story that unfolds. Another performance of note is Ku Feng (One-Armed Swordsman), who portrays Eagle Chief Yoh Xi-Hung, the ruthless leader of the Iron Boat clan.

The narrative is flawlessly executed; it's filled with tense moments, and everything culminates with a two-against-dozens bloodbath. Another strength of the narrative is a lengthy 22-minute flashback that provides Chik Ming-sing’s backstory. When it comes to action sequences, there are many, and the characters used a variety of weapons. Ultimately, The Avenging Eagle is Sun Chung’s crowning achievement as a filmmaker.

Killer Constable: A righteous constable known for killing criminals is tasked with tracking down the thieves who stole from the imperial treasury.

Chih-Hung Kwei directed Killer Constable. He is known for The Bamboo House of Dolls, The Killer Snakes, Virgins of the Seven Seas, Corpse Mania, and The Boxer's Omen.

Though Leng Tian-Ying is suited for the job he’s been given, as the story unfolds, it becomes clear he was chosen for other reasons. Besides bringing suspects to justice and retrieving the stolen gold, Leng Tian-Ying and his men are constantly attacked by assassins. What is the motive of these assassins? Are they purely in it for the gold, or has someone hired them to kill Leng Tian-Ying?

Killer Constable has a fantastic premise; it's filled with deception and misdirection. Though the stolen gold is the event that sets the story in motion, it becomes clear that the real target is Leng Tian-Ying. It is his reputation for not bringing criminals in alive that the mastermind behind the stolen gold is counting on.

The standout performance is Chen Kuan-tai (Challenge of the Masters), who portrays Leng Tian-Ying, aka the Killer Constable. He delivers an exceptional performance that perfectly captures the essence of his character. The other performance of note is Yuen Wah (Dragons Forever), who portrays Lord Liu Jing Tian, the security chief's bodyguard. This performance is all about physicality; he says little but plays a significant role in the climactic action sequence.

Chih-Hung Kwei's direction is impeccable; not only do the action sequences exceed expectations, but the visuals also often overflow with atmosphere. The most memorable moment is a scene where an assassin comes home to his blind daughter taking care of the injured constable. This moment is tense, and instead of putting her in harm's way, both men agree to duel outside. That said, the well-executed finale does a phenomenal job building and maintaining tension to its blood-soaked finale. Ultimately, Killer Constable is a bona fide martial arts classic and one of the best films Shaw Brothers made.

Buddha's Palm: A young fighter whose skills are lacking learns martial arts from a blind master who teaches him the Buddha’s palm.

Taylor Wong directed Buddha's Palm. He is known for Tragic Hero, and Rich and Famous.

Buddha's Palm is a CGI-heavy martial arts fantasy film where the protagonist encounters H.R. Pufnstuf-like creatures. The story and action sequences are not rooted in reality, and the premise is best described as absurd. Fortunately, all of these things work in Buddha's Palm’s favor.

The performances are best described as enthusiastic. The most memorable performance is Lo Lieh (On the Run), who portrays a Buddhist abbot who always shows up at the most inopportune times. Another performance of note is Derek Yee's (The Sentimental Swordsman) portrayal of the protagonist. He delivers a performance that perfectly reinforces the evolution of his character.

Humor plays a significant role in the story that unfolds, and it rarely misses the mark. Some of the funniest moments revolve around Lo Lieh’s Buddhist abbot. The action sequences are inventive; there is a character who shoots acid pus out of a large cyst. Ultimately, Buddha's Palm’s brisk pacing and outrageous situations make for a lot of fun.

Bastard Swordsman: A bullied orphan at a martial arts school is its last line of defense against a rival clan.

Lu Chin-ku directed Bastard Swordsman. He is known for The Master, The Lady Assassin, Holy Flame of the Martial World, Bastard Swordsman, Return of the Bastard Swordsman, and Holy Virgin vs. The Evil Dead.

The narrative revolves around Yun Fei Yang, an orphan who is tasked with all of the unpleasant acts at a martial arts school. Despite his best intentions to learn martial arts, the other students and teachers refuse to teach him. From there, a masked martial arts master secretly teaches Yun Fei Yang, and the skills he learns will play a factor in the story that unfolds.

A subplot that runs concurrent with Yun Fei Yang learning martial arts is the arrival of a new student at the school. Despite already being an accomplished martial artist, this new student is accepted by the master after saving his life. All of this coincides with the annual ten-year competition between two rival martial arts schools.

All around, the performances are very good, especially Norman Chu (Seeding of a Ghost), who portrays Yun Fei Yang. He was an actor who rose to prominence for the Shaw Brothers in the 1980s, and once again he is excellent in the role of hero. There are also an assortment of colorful bad guys, like four fighters named Lightning, Rain, Wind, and Thunder, who are formidable when they combine forces. The main villain is portrayed by Tony Liu (Fist of Fury). It is through an act of deception that his character gains an upper hand.

Though there is a satisfying balance between action sequences and exposition moments, it is the former where Bastard Swordsman shines brightest. Not only are there exemplary action sequences; there is an exceptional training sequence where the student is taught to catch leaves on his sword. Also, the Silkworm technique that Yun Fei Yang learns echoes his own metamorphosis from a nobody to a hero. That said, when it comes to pacing, there is never an issue as things move along quickly, culminating with an epic showdown. Ultimately, Bastard Swordsman is an exemplary Wuxia, making it one of Shaw Brothers better films from the 1980s.

Arrow Video’s Shawscope Volume Three box set is in line with its predecessors. It comes in a sturdy box, each film is given solid audio and video presentations, and there is a wealth of archival and newly created extras that provide insight into the films and those who made them. That said, Arrow Video’s Shawscope Volume Three box set is an exceptional release, and one would be hard pressed to name a better release than Shawscope Volume Three from 2024, highly recommended.

Written by Michael Den Boer