The sixth and final pupil of a dying martial arts teacher is instructed to find the teacher's five former pupils and defeat any evil ones that are among them.The sixth and final pupil of a dying martial arts teacher is instructed to find the teacher's five former pupils and defeat any evil ones that are among them.The sixth and final pupil of a dying martial arts teacher is instructed to find the teacher's five former pupils and defeat any evil ones that are among them.
Phillip Chung-Fung Kwok
- Ho Yuan-Hsin
- (as Chui Kuo)
- …
Meng Lo
- Liang Shen, Toad
- (as Mang Lo)
Lung-Wei Wang
- Judge Wang
- (as Wang Lung-wei)
Chen-Tu Tan
- Constable
- (as Chen-Tao Tan)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaRanked #11 in Entertainment Weekly's "Top 50 Cult Films of All-Time."
- GoofsNear the end of the film when the Lizard, the Scorpion, the Snake, the Centipede and the Teacher's sixth and final pupil confront each other at the Snake's mansion, the Lizard calls the Centipede "Number 5". The Centipede was actually "Number 1" and was referred to as such throughout the rest of the film and the Toad was actually "Number 5" and was also referred to as such throughout the rest of the film. This is undoubtedly an error in the English dubbing, not in the original Mandarin dialogue.
- ConnectionsEdited into Kill Bill: Vol. 1 (2003)
Featured review
Hidden Treasure
Most 70s (and 80s) Kong Kong martial arts films barely function as movies; usually there are a few well-planned fight sequences, but the plot is scraped pretty thin to fill in the gaps between those nodes -- like porno films, really.
But this one does several things well. Most overtly, there is the direction and choreography, which confines each combatant to a 'style' -- it's really based on Chinese circus acrobatics and comedic theater, but the effect works.
Second, there is the language of the camera, which uses some impressive techniques(even by today's measure), changing projection speeds from real time time to slow motion, and from unfiltered to filtered views to depict story direction toward the past or toward the future.
Least overt, but most powerful and unexpected, is the construction. The winner of this contest is determined by who 'unfolds' the story. The master (the writer) sets up a game where the lead character doesn't know who he's seeking, which is the same situation we viewers find ourselves in. One by one, he figures out who is who, at the same rate we find out who is who. It all follows a tragedy/noir arc. The ending tends toward irony, a la "The Sting". Much more clever stuff than what we usually get out of this genre.
The 'five venoms' idea is the template for Tarantino's 'deadly viper assassins' from the "Kill Bill" volumes.
But this one does several things well. Most overtly, there is the direction and choreography, which confines each combatant to a 'style' -- it's really based on Chinese circus acrobatics and comedic theater, but the effect works.
Second, there is the language of the camera, which uses some impressive techniques(even by today's measure), changing projection speeds from real time time to slow motion, and from unfiltered to filtered views to depict story direction toward the past or toward the future.
Least overt, but most powerful and unexpected, is the construction. The winner of this contest is determined by who 'unfolds' the story. The master (the writer) sets up a game where the lead character doesn't know who he's seeking, which is the same situation we viewers find ourselves in. One by one, he figures out who is who, at the same rate we find out who is who. It all follows a tragedy/noir arc. The ending tends toward irony, a la "The Sting". Much more clever stuff than what we usually get out of this genre.
The 'five venoms' idea is the template for Tarantino's 'deadly viper assassins' from the "Kill Bill" volumes.
helpful•325
- jldmp1
- Jun 25, 2006
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- The Five Deadly Venoms
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