Kung Fu Pimp-Hand: Asian American Film Festival (Part 5)
"You haven't lived until you've fought Dirty Ho ... and then you're dead!"
Given the recent ascension of martial arts films to art-house popularity (Crouching Tiger, Hidden Dragon, Hero, House of Flying Daggers), watching this film is a useful lesson in kung fu history -- and we're not talking about the chop-sockies that populate after-hours TV, or the films of Bruce Lee, which stand apart and inimitable, or the clownish acrobatics of Jackie Chan. Dirty Ho (faithfully translated, the title's meaning is closer to "Rotten Head Ho," but admittedly it isn't as fun as "Dirty Ho"), in its unassuming way, is actually a seminal work in martial arts film, bridging the gap between the genre's stylized, theatrical origins and the frenetic, physical affairs of modern-day practitioners like Chan and Jet Li.
Director Lau Kar-Leung may not be familiar outside fanboy circles (he's best known in the West for his pivotal supporting role in Chan's Drunken Master II (aka The Legend of Drunken Master)), but his influence on kung fu movies is indisputable. From the 70s to the early 80s he helmed (and acted in) classics such as Executioners of Shaolin (1976), Mad Monkey Kung Fu (1979) and Eight Diagram Pole Fighter (1982), and under his watch the genre became something more than a wooden exhibition of pomp and pugilism. Taking his cue from the formality of King Hu, the godfather of modern martial arts cinema, he injected his films with a canny mix of ferocity and wit that few have equalled since. Even a relatively light confection like Dirty Ho is shot through with exhaustive and exhausting choreography, and while the combat in this film may seem dated to some eyes, there is no denying its inventiveness, or the impact it has had on more recent filmmakers such as Chan (or even Stephen Chow, who shares Lau's fondness for hapless ne'er-do-wells who morph into super-fighters without quite losing their flawed, humane qualities -- see King of Beggars and Kung Fu Hustle for proof).
But Lau is also adept at working within formulas to tell engrossing stories. Dirty Ho plays a neat balancing trick between decorum and all-out martial arts insanity, and the balance is personified by Lord Wang Qinqin (the redoubtable Gordon Lau), by all appearances a cultured wine dealer but secretly the gifted 11th son of the Chinese emperor. Content to while away his time entertaining the ladies, sipping the finest wines, and admiring art, his placid lifestyle is interrupted by Dirty Ho (Wang Yue), an uncouth trickster who enjoys showing off and throwing around his hard-earned (read: stolen) money. Their friendly rivalry touched off by a competition over maidens at a local brothel, Wang wastes no time in showing Ho who's boss through some sly martial arts showdowns in which he subdues Ho without actually betraying the fact he knows any kung fu. Gordon Lau, who ordinarily might have been cast as Ho, brings a good deal of savvy to his role as Wang, his movements as refined as air, his playful smirks punctuation to the tricks he plays.
Rest assured, this film is shot through (or afflicted, some might say) with the conventions of many films from this era. The acting plays more along the lines of hyper-exaggerated Chinese opera than the naturalism Western audiences are more comfortable with, and the studio-bound locations can be a bit claustrophobic (a far cry from the lush budget and settings of Crouching Tiger, for instance). Nonetheless, the film uses its shaggy-dog demeanor to its advantage. No great truths revealed here, no pretensions of grandeur, just a tidy little tale told in high style, and there's something to be said for a movie that doesn't overstay its welcome. High art it is not, but in its refreshing unpretentiousness, its frisky dance on the border separating courtliness and anarchy, Dirty Ho reminds us what we enjoy about martial arts films in the first place, minus those art-house trappings, even as it points to the developments that have enlivened the genre in the past few decades. It helps when you have a kung fu pimp like Lau Kar-Leung at the steering wheel.
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