GRSJ224/Masculinities in One-Armed Swordsman (1967)

Overview

Along with the reputation of Hollywood in the United States, Hong Kong cinema is also renowned as one of the success stories in film history. It has been the “most robust cinema” industry during the 19th century and has “ruled the East Asian markets” by offering what audiences have desired (Bordwell 1). Although Hong Kong films were once a pop-cult both in the West and the East, the business encountered a significant decline with the local film critics, leading to a collapse (Chu 131).

Chang Cheh’s “One-Armed Swordsman” is the first Hong Kong movie that surpassed over HK$1 million gross revenue. The director’s explicit interest in celebrating bloody brotherhood and male bonding highlight a theme of masculinity. The success of the movie led to the proliferation of masculine characteristics in the field and delivered constitutional adjustments “to the local filmmaking tradition hitherto dominated by women’s genres and female stars” (Yip 20).

A Brief History of Hong Kong Cinema

Following the country’s emblematic modifier as ‘Hollywood of the East’, Hong Kong has monopolized the East Asian film markets for around 20 years (Bordwell 3). In particular, it has been a hub for filmmaking in Chinese-speaking countries including mainland China and Taiwan.

The film was first introduced to Hong Kong during the late 19th century. The Cantonese operas have been an inspiration for various scenarios and positioned as a major genre for movies. The kinesthetic actions, visual spectacles with simple plots made the films to succeed.

The golden age

The foundation of two major studios such as Cathay (MP & GI) and Shaw Brothers have facilitated the commercialization of the industry. By implying a Hollywood style vertical integration system, which allows production, distribution, marketing, and theatre all under one roof, these studios have achieved efficient disseminations (Hanssen 520). The major audiences for Shaw Brothers and Cathay studio films were Taiwanese and Southeast Asians. Additionally, the cultural diaspora was apparent in the United States, especially in San Francisco. The movie theatres in Chinatown of the city gathered international audiences, leading to enlargement.

The fall

In contrast to optimism, the industry confronted a drastic downturn. The number of domestic audiences was diminutive. Since the 1990s, moreover, the industry has lost Asian markets, which further decreased its position. According to Willis, the Asian financial crisis of 1997 has also influenced the market by reducing the average production rate. For instance, Hong Kong “only produced 50 films in 2005, the lowest ever recorded since the 1950s” (7). The regional residents’ altered spending habits on leisure have negatively impacted the record as well. Ultimately, the loss of creative personnel to work in the United States’ film and television industries brought insufficient performances.

One-Armed Swordsman

The “One-Armed Swordsman” is a wuxia film first released in 1967. It was produced by Shaw Brothers with director Chang Cheh. Chang is renowned as the godfather of Hong Kong film.

Chang Cheh

As a veteran martial arts filmmaker of China, Chang approximately directed 100 movies throughout his profession. He was a former scenarist of Cathay studios but moved to Shaw Brothers as a chief scriptwriter during the early 1960s (White 80).

Principally, Chang’s exceptional storylines demonstrated significant attachments in conventional Chinese narratives. For instance, he adopted revenge narratives with emphases on male antiheroes’ savage swordplay and bleedings. His pieces echoed the protagonist’s mutilation to convey “male charisma” as well (Zhou 168). By this, the local film industry has enthusiastically incorporated masculinity in the movie.

Main Characters

• Jimmy Wang Yu as Fang Kang

Fang Kang is the major protagonist of the film. He is unable to integrate with the community as he became the envy of his school with outstanding abilities. Although Fang Kang loses his one arm, he rises above hardships and masters one-armed swordplay.

• Chiao Chiao as Xiao Man

Xiao Man is the daughter of a former master of martial arts. She saves Fang Kang’s life when he fell unconscious from the bridge.

• Tien Feng as Qi Ru Feng

Qi Ru Feng is the master of the Golden Sword school. Despite Qi Ru Feng understands loyalty and fairness, he cannot resolve the conflict between his disciples, leading to a fight between them.

• Angela Pan (Violet Pan Ying-Zi) as Qi Pei Er

Qi Pei Er is the character who cut Fang Kang’s arm. Though her abilities are incomparable to his swordplay, she slashes his right arm at the end of a scuffle.

Summary

The screenplay proceeds based on the Golden Sword school in China. At the beginning of the scene, Fang Kang’s father, a servant of the school, sacrificed himself to protect his master Qi Ru Feng. As an indication of gratitude, the master has accepted Fang Kang as one of his students. Nonetheless, Fang Kang was perpetually isolated from other friends in the group because of his impoverished background. He believed himself a troublemaker for his master, which led to leaving school quietly. However, Fang Kang met his classmates on the way out and caught up in a fight. In the process of sword fighting, his right arm cuts off by the master's daughter, Qi Pei Er. While walking in bleed, he met a peasant Hsiao man on the bridge and got a nurse from her. Although Fang Kang has lost his one arm, he became much stronger than before by continuous practices with the father's sword. While he was improving as a one-armed swordsman, the master was under attack by his enemies. Specifically, Long-Armed Devil and Smiley Tiger tried to kill him at his birthday celebration. In the final scene, Fang Kang has managed to kill these enemies through his outstanding swordplay. He decided to return to Hsiao man to become a farmer, showing his love as well.

Masculinities in One-Armed Swordsman

Chang’s cinematic treatments of a man indicate masculinity in the movie (Zhou 169). Explicitly, the film accentuates male honor and friendships through a storyline, constituting mannish environments. For instance, the representation of honesty is evident in the final scene where Fang Kang returns to the school to resolve the obligations toward the master (One-Armed Swordsman). Even though he lost his arm because of the master’s daughter, he came back to maintain his fidelity. This demonstrates that Fang Kang notably values the ties of brotherhood.

Alongside with the significance of male relationships, the movie underlines the masculinity through distinctive male protagonist as well. His father’s broken knife and severed arms are symbols of a man who has lost his strength. However, Chang’s decision on establishing the disabled character has maximized the male charisma with dramatic effects. This is notably apparent in the scene where Fang Kang considered himself as useless after an accident (One-Armed Swordsman). He believed that his masculine features would vanish as one-armed swordplay is arduous and uncommon. Nevertheless, he has advanced his capabilities using the left arm and became stronger as the plot develops, portraying masculinities. By depicting the male character who surmounts the disability, their strengths, tenacity, and toughness are emphasized.