Uncle Jasper reviews: Virgins of the Seven Seas (1974)
Virgins of the Seven Seas [洋妓] (1974)
AKA “The Bod Squad” & “Enter the Seven Virgins” & “Karate, Küsse, Blonde Katzen“
Starring Sonja Jeanine, Diana Drube, Tamara Elliot, Gillian Bray, Deborah Ralls Yueh Hua, Liu Hui-Ling, Wang Hsieh, Helen Ko, Li Ming
Directed by Kuei Chi-Hung and Ernst Hofbauer
This must be bare breasted kung fu fighting week over here at Silver Emulsion because both of my reviews this week feature sexy ladies doing exactly that. But whereas T.N.T. Jackson relegated it to a single action scene, Virgins of the Seven Seas took that classy concept and built an entire film around it. Now if I were to choose potential filmmakers to direct a movie about topless European sex slaves kicking the shit out of Chinese pirates I’m pretty sure Shaw Bros degenerate Kuei Chi-Hung would factor into it somehow, if not at the very top. And guess what? Lo and behold he’s here along with German softcore porn legend Ernst Hofbauer to bring us this tasteful tale of war, love, and vagina training on the high seas.
This two-pronged approach is what really makes this film work at a base level. As each director was allowed to focus on their own specialties, it makes for a thoroughly entertaining experience all the way through. I can’t vouch for Ernst Hofbauer, as I know very little about his work, other than the fact he directed a series of films called Schoolgirl Report (which makes him an instant winner in my book), but Kuei Chi-Hung’s indelible stamp is evident right from the start when a live eel is fished from the water and skinned alive on camera (“The white vixens will get the bowels” one crewman exclaims). His unhealthy obsession with weird misogynistic fantasies and perverse torture sequences once again rears its ugly head here as our scantily-clad heroines are put through their paces. Over the course of the film our ladies are fed raw animal offal, tied to giant spinning wheels, chained to a wall as their nipples are mercilessly lashed and finally, spread-eagle and intimately examined in order to make sure they’re “still sealed”.
Uncle Jasper reviews: The Killer Snakes (1974)
Starring Kam Kwok-Leung, Maggie Lee Lam-Lam, Chan Chun, Chow Gat, Helen Ko, Lam Fung-Hung
Directed By Kuei Chi-Hung
With The Killer Snakes, Shaw’s go-to sleazemeister, Kuei Chi-Hung, reaches stellar new heights (or lows, depending on how sensitive you are to animal cruelty and wild forays into sexual bondage). No stranger to no-holds-barred subject matter, having made the rounds with women’s prison films (Bamboo House of Dolls), and gross-out experiments in the dark arts (Bewitched and The Boxer’s Omen), Chi-Hung plunges the viewer headfirst into his darkest and most socially unredeeming worldview yet.
The Killer Snakes, despite its disturbing imagery and horrifying ventures into only the most psychologically depraved territories, is probably one of the best non martial arts films to ever make it out of Shaw Studios. Don’t get me wrong, it is not a pleasant experience, and I highly doubt I’ll be popping this one in again anytime soon. But you can’t deny how effective it is in eliciting some pretty heavy reactions from anybody brave enough to dive beneath its unsettling surface.
Uncle Jasper reviews: Men from the Monastery (1974)
Men from the Monastery [少林子弟] (1974)
Starring Alexander Fu Sheng, Chi Kuan-Chun, Chen Kuan-Tai, Deng Tak-Cheung, Feng Yi, Feng Hak-On, Kong Do
Directed By Chang Cheh
Men from the Monastery continues the “Shaolin Cycle” of films that Chang Cheh kicked off with Silver Emulsion favorite, Heroes Two in 1974. More or less a direct sequel of sorts to Heroes Two, Alexander Fu Sheng and Chen Kuan-Tai return as legendary folk heroes Fong Sai-Yuk and Hung Si-Kwan. Except this time they are joined by the revenge driven powerhouse Hu Huei-Chien, played by the sleek Chi Kuan-Chun in what I assume is his acting début. Men from the Monastery is a pretty apt title, but I am hoping that in some alternate reality this film goes under the much cooler moniker of Heroes Three. It just makes so much sense.
To my surprise this film actually manages to outdo its prequel despite some really strange narrative devices that eventually end up growing on you the further you get into the film. The movie is divided up into segments, each focusing on a particular character. These segments overlap each other well enough before finally unifying themselves in the film’s absolutely stellar fourth and final act. It sounds great on paper, but if you don’t know that (as I didn’t) before going in, you will wonder what the hell has happened to Chen Kuan-Tai, who isn’t even mentioned by name until 41 minutes into the film.