UCLA's Westwood campus Thursday, November 17 - Sunday, December 11.

Please also note that the late Bruce Lee would have been 65 years old this month.  The Archive will be showing both THE WAY OF THE DRAGON (1972) and FIST OF FURY (1972) with Bruce Lee's daughter, Shannon Lee Keasler, introducing the films.

In keeping with martial arts movie tradition, the UCLA Film & Television Archive returns with a sequel to the successful Heroic Grace series launched in 2003. Heroic Grace II picks up where the first one left off.  While the debut series traced the development of this most influential of Chinese film genres, from its origins in Shanghai in the 1920s through the halcyon days of Hong Kong-based production in the 1970s and '80s, this series digs deeper into that enormously creative period when kung fu entered our popular lexicon, and teases out linkages to the '90s generation of Hong Kong action and the more recent pan-Chinese wuxia pian (swordplay film) revival.
 
Heroic Grace II accords a closer look at the overlooked auteurs of the martial arts cinema.  To the roster of masters Zhang Che (Chang Cheh) and King Hu (Hu Jinquan), we can now add Chu Yuan (Chor Yuen) and Lau Kar-leung (Liu Jialiang), and possibly Chung Chang-wha, Wu Ma and Huang Feng.  At various points in their careers, these directors worked for major Hong Kong studios Shaw Bros., Cathay and Golden Harvest. At other times, they branched out on their own, shooting movies in Taiwan or for smaller independent companies in Hong Kong, or in the case of Chung, worked in South Korea.
    
Martial arts cinema was nothing if not star-driven in its postwar, “new school” and beyond incarnations, and the stars who emerged in the '70s and '80s were the brightest of them all: Bruce Lee (Li Xiaolong), Chen Guantai, Luo Lie, David Jiang (Jiang Dawei), Di Long, Gordon Liu (Liu Jiahui), Jackie Chan (Cheng Long) and Jet Li (Li Lianjie).  Heroic Grace II will screen a selection of their career highlights, as restorations or archival prints, many unavailable for public exhibition until now.
    
And finally the Archive celebrates the women who blazed paths of glory across the jiang hu (literally “rivers and lakes”; metaphorically the mythic realm of the martial arts), whose talents younger film fans may have glimpsed only in fragmentary form, oftentimes on butchered video.  Heroic Grace II will present rediscoveries of some of the best, rarely screened works featuring such martial arts queens as Angela Mao Ying, Helen Ma (Ma Hailun), Kara Hui (Wei Yinghong), Xu Feng, Jing Li, Betty Bei Di and Nora Miao (Miao Kexiu).
 
SUN  11/20  2:00 pm
Newly restored by Fortune Star
FIST OF FURY aka THE CHINESE CONNECTION  (Jing Wu Men)
(Hong Kong, 1972)  Directed by Luo Wei
An enormous hit following on the heels of THE BIG BOSS (1971), FIST OF FURY confirmed Bruce Lee's bona fides as an international movie star and helped immortalize him in the now-familiar heroic nunchaku-brandishing posture. Lee portrays a Jing Wu exponent bent on avenging the death of his master and compatriots at the hands of Japanese rivals. Set in occupied Shanghai of the 1930s, FIST OF FURY boils over with anti-imperialist rage and long-suppressed Chinese pride. The film's politics may have escaped oblivious American critics during its initial release stateside, but Lee's magnetic screen presence did not. An otherwise sniffy New York Times review raved that the kung fu icon “is decidedly an eye-catching figure as he takes on all comers, singly or in whimpering groups…with swift, balletic moves, baleful stares, deadly flying fists and legs and, of course, all the necessary eerie shouts.”
Golden Harvest. Producer: Raymond Chow. Screenwriters: Luo Wei, Ni Kuang. Cinematographer: Chen Qingqu. Martial Arts Director: Han Yingjie. Editor: Zhang Yaocong. With: Bruce Lee, Nora Miao, James Tian Jun, Luo W. HDcam, in Cantonese with English subtitles, 106 min.
 
*IN-PERSON:  Shannon Lee Keasler, daughter of Bruce Lee, will introduce the film
 

SUN  11/20  7:00 pm
THE MAGIC BLADE  (Tianya Mingyue Dao)
(Hong Kong, 1976)  Directed by Chu Yuan
Chu Yuan followed the popular success of KILLER CLANS (screened in the first Heroic Grace) with this outré martial arts fantasy, possibly the most celebrated of his 21 adaptations of Taiwanese writer Gu Long's novels. Shaw action stars Di Long and Luo Lie are chivalric rivals who join forces to track down a legendary weapon—the terrifying Peacock Dart!—and defeat an evil sorcerer bent on domination of the jiang hu. Along the way a wild menagerie of armed henchmen, conniving nobles and beauties, and a militant grandma crosses swords with poncho-clad Di Long, sans cheroot but brandishing his own custom spinning blade. With thrilling acrobatics arrayed against a diorama of ancient Chinoiserie, THE MAGIC BLADE confirmed Chu Yuan as a master of the '70s wuxia spectacular.
Shaw Bros. Producer: Runme Shaw (Shao Renmei). Screenwriters: Ni Kuang, Situ An. Based on a novel by Gu Long. Cinematographer: Huang Jie. Martial Arts Directors: Tong Kai (Tang Jia), Huang Peiji. Editor: Jiang Xinglong. With: Di Long, Luo Lie, Jing Li, Tian Ni. 35mm, in Mandarin with Chinese and English subtitles, 96 min.
 
COLD BLADE  (Long Mu Xiang)
(Hong Kong, 1970)  Directed by Chu Yuan
Made in Mandarin for the Cathay studio after Chu Yuan's long run of work in the Cantonese cinema, COLD BLADE was the director's first stab at the swordplay film. It chronicles the romantic entanglements of two Song Dynasty warriors and a Mongolian princess, all of whom are also locked in a struggle over a precious treasure map. Chu infuses his trademark elegance into the elaborately stylized mayhem. Less grisly than Zhang Che and more baroque than King Hu, Chu's distinctive approach, dense with literary detail, prefigures the aesthetic he would later apply to his Gu Long adaptations. The Archive will present the only English-subtitled print and one of only two prints of the
film known to exist anywhere. The soundtrack is regrettably missing in about 9 minutes of the aforementioned print.
Cathay. Producer: Zhu Guoliang. Screenwriter: Chu Y. Cinematographer: Li Wanjie. Martial Arts Directors: Chen Xiaopeng, Chen Guantai. Editor: Wang Zhaoxi. With: Melinda Chen (Chen Manling), Gao Yuan, Ingrid Hu (Hu Yinyin), Zhang Bin. 35mm, in Mandarin with English subtitles, 88 min.
 

SAT  11/26  7:30 pm
THE NEW ONE-ARMED SWORDSMAN  (Xin Dubi Daowang)
(Hong Kong, 1971)  Directed by Zhang Che
Zhang Che revisits the premise of his epochal ONE-ARMED SWORDSMAN (1967) but with a gruesome difference. David Jiang portrays an arrogant warrior humbled by a nefarious opponent and forced to hack off his own arm. Years of waiting tables fortify his single-handed dexterity, but what finally launches him back on the path of bloody retribution is the untimely death of his comrade Di Long. The actors were Zhang's preferred pairing of heroes in his '70s films, and like other of the director's films about male bonding, THE NEW ONE-ARMED SWORDSMAN is charged through with latent homoeroticism. Fuelled by the estimable action choreography of longtime collaborators Tong Kai and Lau Kar-leung, the film builds to an astonishing finale traversing the entire span of a bridge and then some.
Shaw Bros. Producer: Runme Shaw. Screenplay: Ni Kuang. Cinematographer: Gong Muduo. Martial Arts Directors: Tong Kai, Lau Kar-leung. Editor: Guo Tinghong. With: David Jiang, Di Long, Li Jing, Gu Feng. 35mm, in Mandarin with Chinese and English subtitles, 94 min.
 
THE DEAF AND MUTE HEROINE  (Longya Jian)
(Hong Kong, 1971)  Directed by Wu Ma
A former assistant to Zhang Che and also a prolific actor, Wu Ma directed this tender and groundbreaking martial arts melodrama. Helen Ma plays the titular swordswoman who is disabled but deftly skilled in drawing her blade. The guiding trope springs from the popular Japanese ZATOICHI blind-swordsman series, but the gender reversal gives the conceit a startling power and poignancy. Ma's husband, for example, becomes her defense aide in battle and an even better caretaker at home. Superb visual stylization simulates the heroine's limited sensory range, while the numerous fight sequences are inventively and vividly staged, including the dreamlike final confrontation between heroine and villainess. An ultra-rare but historically essential title, THE DEAF AND MUTE HEROINE will be presented the only way it can be shown internationally—on digital betacam tape loaned by the Hong Kong Film Archive.
Ming Xing. Producer: Huang Tao. Screenwriter: Ma Lie. Cinematographer: Hua Shan. Martial Arts Directors: Xu Erniu, Xu Songhe. Editor: Guo Hong. With: Helen Ma, Tang Qing, Huang Shali, Wu M. Digibeta, in Mandarin with English subtitles, 83 min.
 

WED  11/30  7:30 pm
HAPKIDO  (He Qi Dao)
(Hong Kong, 1972)  Directed by Huang Feng
Angela Mao Ying headlines a magnificent trio including the redoubtable Carter Wong (Huang Jiada) and Sammo Hung (Hong Jinbao) in a kung fu classic that espouses Chinese and Korean solidarity against the Japanese. Mao et al. are Hapkido proponents who return from training in Korea to open a school in republican China. Trouble with a competing Japanese dojo leads to a series of violent showdowns, viscerally yet eloquently presented in director Huang Feng's preferred style of “street realism.” HAPKIDO features a career-making performance from Sammo Hung (who doubles as one of the action choreographers), a stunt extra named Jackie Chan and a memorably menacing turn by King Hu regular Bai Ying (also in THE VALIANT ONES).
But the film really belongs to Angela Mao Ying, an exceptional martial artist with utterly awesome power and fierce fighting technique who gets the rare
female privilege here of a slo-mo lead in to her delivery of the coup de grace. Long unavailable in all but the worst dubbed and scanned bootleg editions, the film will be screened tonight in a rare English-subtitled 35mm print, admittedly worn down with time but still intact and an invaluable testament to Mao's martial arts mastery.
Golden Harvest. Producer: Raymond Chow. Screenwriter: He Jen. Cinematographer: Li Yutong. Martial Arts Directors: Qiu Yuanlong, Sammo Hung. Editor: Zhang Yaocong, With: Angela Mao Ying, Carter Wong, Bai Ying, S. Hung. 35mm, in Mandarin with Chinese and English subtitles, 92 min.
 
POLICE STORY  (Jingcha Gushi)
(Hong Kong, 1985)  Directed by Jackie Chan
This propulsive urban crime film ranks among the best in the Jackie Chan canon. Chan stars as a Hong Kong cop determined to take down a notorious drug ring. Brigitte Lin (Lin Qingxia) is the witness he's assigned to protect; Maggie Cheung (Zhang Manyu) plays his jealous girlfriend; and veteran Shaw auteur Chu Yuan cameos as a surly captain. Crammed with electrifying stunts (a car chase through a hillside shantytown, a dangerous slide down a pole festooned with Christmas lights) and precision Keatonesque feats (hanging onto a moving double-decker bus by an umbrella), POLICE STORY combines the gymnastic derring-do and stupendous physicality of the martial arts film with the speeded up pace of contemporary action.
Golden Harvest. Producer: Leonard Ho (He Guanchang). Screenwriter: Edward Tang. Cinematographer: Cheung Yiu-joe. Martial Arts Director: J. Chan. Editor: Peter Cheung. With: Jackie Chan, Brigitte Lin (Lin Qingxia), Maggie Cheung, Chu Yuan. 35mm, in Cantonese with Chinese and English subtitles, 95 min.
 

SAT  12/3  7:30 pm
Newly restored by Celestial Pictures
THE BOXER FROM SHANTUNG  (Ma Yongzhen)
(Hong Kong, 1972)  Directed by Zhang Che and Bao Xueli (Pao Hsueh-li)
This brutal fight film adapts the proverbial rise-and-fall gangster formula to the mean streets of '30s Shanghai. Chen Guantai is a poor hick from Shandong (“Shantung” according to the old Wade-Giles romanization) whose fearsome boxing ability allows him to muscle his way to the top of the Shanghai underworld. Bursting with typically Zhangian bloodshed and distinguished by Chen's authentic kung fu technique (the film proved to be the actor's breakout vehicle), BOXER also features Shaw luminaries David Jiang as a charismatic gangland don and Jing Li as a principled songstress. Among its highlights that have inspired a host of imitators: an iconic match between Chen and a Russian wrestler, and ruthless hatchet-wielding thugs, most recently revived as the “axe gang” in Stephen Chow's comic tribute to the martial arts cinema, KUNG FU HUSTLE.
Shaw Bros. Producer: Runme Shaw. Screenwriters: Ni Kuang, Zhang C. Cinematographers: Gong Muduo, Ruan Dingbang. Martial Arts Directors: Tong Kai, Lau Kar-leung, Lau Kar-wing (Liu Jiarong), Chen Quan. Editor: Guo Tinghong. With: Chen Guantai, Jing Li, David Jiang (Jiang Dawei), Ma Lannu. 35mm, in Mandarin with English subtitles, 126 min.
 
LEGENDARY WEAPONS OF CHINA  (Shiba Ban Wuyi)
(Hong Kong, 1982)  Directed by Lau Kar-leung
Director Lau Kar-leung's exhilarating exposition on Chinese martial arts has been hailed as the ultimate film on the subject, and it's easy to see why. It argues for realistic kung fu (skilled effort) over fakery and spectacle. A compendium of 18 classic weaponry and combat styles, including “weaponless” fist-fighting, the film also reiterates a favorite theme of the martial arts cinema—the training of a disciple by a master, though it shifts the usual focus on the pupil to the teacher and his ethical responsibilities. Lau himself stars as an erstwhile master who, having disavowed the messianic bullet-repelling hocus-pocus of the Boxer rebels, is now pursued in exile by three young Boxer assassins: the acolyte Xiao Hou, the nimble-footed Kara Hui and the fanatically implacable Gordon Liu (36 CHAMBERS OF SHAOLIN, KILL BILL 2). Action choreography here is patented Lau: marvelously inventive and as tightly syncopated and high-spirited as old school funk.
Shaw Bros. Producer: Mona Fong. Screenwriters: Lau K.L, Li Taiheng. Cinematographer: Ao Zhijun. Martial Arts Directors: Lau K.L., Jing Zhu, Xiao Hou. Editors: Jiang Xinglong, Li Yanhai. With: Lau K.L., Kara Hui, Lau Kar-wing, Xiao Hou. 35mm, in Cantonese with Chinese and English subtitles, 101 min.
 

SUN  12/4  7:00 pm
THE JADE TIGER  (Bai Yu Laohu)
(Hong Kong, 1977)  Directed by Chu Yuan
Chu Yuan's penchant for labyrinthine plotting reaches its zenith in this dizzying adaptation of the Gu Long source novel. Di Long heads an all-star cast as a Zhou warrior catapulted by the threat of his father's decapitation, delivered on his wedding day, into the middle of a no-holds-barred war between his clan and the Tangs. The outrageous characters, exotic weapons and proliferating layers of subterfuge are hyperbolic even by the standards of an already excess-saturated subgenre. Chu's characteristic visual splendor contributes to the air of delirium, but a self-conscious pathos about the futility of martial rivalry lends the film thematic ballast and anticipates the reflexive tone adopted in the melancholy wuxia by the Hong Kong New Wave of the '80s.
Shaw Bros. Producer: Mona Fong. Screenwriters: Gu Long, Chu Y. Cinematographer: Huang Jie. Martial Arts Directors: Tong Kai, Huang Peiji. Editor: Jiang Xinglong. With: Di Long, Gu Feng, Li Lili, Luo Lie. 35mm, in Mandarin with Chinese and English subtitles, 101 min.
 
THE ROMANCE OF BOOK AND SWORD  (Shu Jian En Chou Lu)
(Hong Kong/PRC, 1987)  Directed by Ann Hui (Xu Anhua)
Ann Hui's moving historical drama (the first of a two-part release) is based on a novel by arguably the most illustrious martial arts writer working in the Chinese language today, Jin Yong (aka Louis Cha). Set in turbulent 18th-century China, the epic tale revolves around two Han Chinese brothers who grow up on opposing sides: one is raised as the Manchu emperor while the other becomes the leader of a secret society dedicated to overthrowing Manchu rule. ROMANCE was one of the first Hong Kong productions to be shot on location in Mainland China, and it uses the country's imposing geography, ranging from desert to mountain and ocean, to create a rich visual texture without sacrificing stirring action or the intricate narrative thread of the source material. Focused on fraternal conflict and political intrigue, ROMANCE was interpreted by many contemporary viewers as an allegory of relations between Hong Kong and China pre-1997.
Sil-Metropole. Producers: Guo Fengzhi, Shen Minghui. Screenwriter: Jin Yong, A. Hui. Cinematographer: Ximu Xiao'er. Martial Arts Director: Wu Jianqiang. Editor: Qiu Muliang. With: Da Shichang, Zhang Duofu, Liu Jia, Yu Li. 35mm, in Cantonese with Chinese and English subtitles. 88 min.
 
 
WED  12/7  7:30 pm
DIRTY HO  (Lan Tou Hou)
(Hong Kong, 1979)  Directed by Lau Kar-leung
Fighting without seeming to fight—that's the ingenious premise at the heart of this dazzler by martial arts grandmaster Lau Kar-leung. The director's mainstay Gordon Liu plays a prodigal prince (and hyper-cultivated epicurean) targeted for assassination by his elder brother. Enter Wang Yu (not to be mistaken for the star of ONE-ARMED SWORDSMAN) as the eponymous Ho, a boisterous ruffian who reluctantly apprentices himself to the expert Liu. With the killers disguised as a wine merchant and an antiques dealer, the prince finds himself parrying dangerous kicks and blows while in art appreciation mode. The climactic fight-back-to-the-palace pitting prince and apprentice against a battery of swords and arrows is a set piece for the ages. Like the title it belies, this movie about the art of the martial arts brilliantly distills its director's penchant for discoursing on the beauty and rigor of a genre that's clearly more than chopsocky.
Shaw Bros. Producer: Run Run Shaw. Screenwriter: Ni Kuang. Cinematographers: Huang Yuetai, Ao Zhijun. Martial Arts Director: Lau K.L. Editors: Jiang Xinglong, Li Yanhai. With: Wang Yu, Gordon Liu Jiahui, Kara Hui, Xiao Hou. 35mm, in Cantonese with Chinese and English subtitles, 100 min.
 
 
FRI  12/9  7:30 pm
Newly restored by Celestial Pictures
MY YOUNG AUNTIE  (Zhangbei)
(Hong Kong, 1980)  Directed by Lau Kar-leung
A young widow (Kara Hui) arrives in Guangdong to deliver a fought-over deed of inheritance to the rightful heirs, her crotchety nephew-by-marriage (Lau Kar-leung) and his westernized son (Xiao Hou). Age and gender role reversals allow for a wealth of kung fu funny business: the nephew is easily twice as old as the aunt but still bound to respect family hierarchies; the fetching aunt has serious warrior chops despite her traditionally feminine appearance. Freely mixing martial arts moves with allusions to popular Hollywood genres (musicals, swashbucklers and even war movies), MY YOUNG AUNTIE is an unalloyed triumph of kung fu comedy. Hui delivers a winning performance as the woman who unsettles the standard teacher-student paradigm of Lau's oeuvre.
Shaw Bros. Producer: Run Run Shaw. Screenwriters: Lau K.L., Li Taiheng. Cinematographer: Ao Zhijun. Martial Arts Directors: Lau K.L., Jing Zhu, Xiao Hou. Editors: Jiang Xinglong, Li Yanhai. With: Lau K.L., Kara Hui, Xiao Hou, Wang Longwei. 35mm, in Mandarin with English subtitles, 114 min.
 
New 35mm print from Columbia Repertory
ONCE UPON A TIME IN CHINA  (Huang Feihong)
(Hong Kong, 1991)  Directed by Tsui Hark (Xu Ke)
Tsui Hark takes on the popular Wong Fei-Hung (Huang Feihong) legend in this rousingly revisionist film, the first in a six-part series that re-imagines the martial arts paragon for the wuxia-meets-kung fu “wire-fu” action of the '90s. A Jet Li in peak form summons a whirling arsenal of “shadowless kicks,” somersaults and leaps to repel the incursion of opium and slave trading by corrupt Westerners into China in the 19th century. The film makes room for grand historical drama and slapstick comedy, sumptuous period décor and whimsical romance, but is best remembered for its virtuosic choreography of combat, most famously the breathtaking fight to the death atop bamboo ladders.
Golden Harvest. Producer: Tsui H. Screenwriters: Leung Yiu-ming, Elsa Tang Bik-yin, Tsui H., Yuen Gai-chi. Cinematographers: Arthur Wong Ngok-tai, Bill Wong Chung-bo, David Chung Chi-man. Martial Arts Directors: Lau Kar-wing, Yuen Shun-yi, Yuen Cheung-yan (Yuan Xiangren). With: Jet Li, Yuen Biao, Rosamund Kwan Chi-lam, Jackie Cheung Hok-yau. 35mm, in Cantonese with English subtitles, 134 min.
 
 
SAT  12/10 7:30 pm
Restored by the Hong Kong Film Archive
THE VALIANT ONES  (Zhonglie Tu)
(Hong Kong, 1975)  Directed by King Hu
King Hu's kinesthetic poetry gets distilled to its essence in a late masterpiece suffused with a deep sense of melancholy. Set characteristically for Hu in the Ming Dynasty (14th-17th century), THE VALIANT ONES refers to the crack team—including a coolly enigmatic swordsman (Bai Ying) and his taciturn wife (Xu Feng)—assembled by military strategist Roy Chiao to defend the Chinese coast against Japanese pirates. Tantalizingly abstract in its fight choreography—action is expressed in calligraphic strokes such as the brief clanging of blades, the whizzing-by of arrows and the rhythmic flight of bodies—the film is nevertheless majestic in its evocation of landscape. But unlike the preternaturally gifted heroes of most swordplay films, Hu's valiant ones are mortal. His “Picture of Valor” (the film's Chinese title) is ultimately ironic; its somber resolution undercuts any triumph in victory.
Producer/Screenwriter: K. Hu. Cinematographer: Chen Qingqu. Martial Arts Director: Sammo Hung. Editor: Xiao Nan. With: Roy Chiao, Xu Feng, Bai Ying, S. Hung. 35mm, in Mandarin with English subtitles, 107 min.
 
CLANS OF INTRIGUE  (Chu Liuxiang)
(Hong Kong, 1977)  Directed by Chu Yuan
Chu Yuan continued his cinematic transmutation of the Gu Long literary oeuvre with this gripping wuxia “whodunnit” set in the timeless realm of martial chivalry. Famed swordsman Chu Liuxiang (Di Long) is framed for the murder of three clan chiefs. Leaving behind leisure and connoisseurship—a resplendent houseboat and poetry-spouting friends—Chu embarks on an investigation that leads him from a mystery woman to Buddhist monks and a grotto-dwelling clan of female fighters led by a lesbian (Betty Bei Di). Gradually he uncovers a convoluted conspiracy that culminates in an unforgettable gender-bending twist. Fantastical and fringed with risqué sexual flourishes, CLANS OF INTRIGUE is echt Chu, a baroque martial arts saga replete with artifice and larger-than-life archetypes engaged in elegantly choreographed mortal combat.
Shaw Bros. Producer: Runme Shaw. Screenwriter: Ni Kuang. Based on a novel by Gu Long. Cinematographer: Huang Jie. Martial Arts Directors: Tong Kai, Huang Peiji. Editor: Jiang Xinglong. With: Di Long, Betty Bei Di, Nora Miao, Yue Hua. 35mm, in Mandarin with Chinese and English subtitles, 99 min.
 
 
SUN  12/11  7:00 pm
Newly restored by Celestial Pictures
THE FIVE VENOMS  (Wu Du)
(Hong Kong, 1978)  Directed by Zhang Che
Long a favorite of martial arts movie fans, THE FIVE VENOMS was the defining showcase for late-career, all-male-ensemble Zhang Che. The dying master of the Venoms House tasks his one remaining disciple to bring to justice the young man's five predecessors, now dispersed and fallen into ignominious criminality. The elder Venoms quintet, however, possesses formidable skills, each in a distinctive fighting style: scorpion, snake, centipede, gecko and toad. The youngest Venom locates them in a small town, and in this nexus of gold loot, shady cops and corrupt judges, a suspenseful mystery plot unfolds, punctuated by some of the most lucidly articulated and imaginative fight sequences of the martial arts cinema. Uncharacteristically—and unlike even the previous Heroic Grace selection, BLOOD BROTHERS—Zhangian brotherhood is rent asunder by greed and betrayal among men.
Shaw Bros. Producer: Runme Shaw. Screenwriters: Ni Kuang, Zhang C. Cinematographers: Gong Muduo, Cao Huiqi. Martial Arts Directors: Liang Ting, Lu Feng, Dai Qixian. Editor: Jiang Xinglong. With: Jiang Sheng, Sun Jian, Guo Zhui, Lu Feng, Wei Bai, Luo Mang. 35mm, in Mandarin with English subtitles, 97 min.

PARKING: There is free parking on Loring Ave. after 6pm on weekdays and all day on weekends.  Parking is also available adjacent to the James Bridges Theater in Lot 3 for $8. 

(The Archive has made the following arrangement for its patrons: Archive patrons can purchase a parking permit for $5 to be used for future visits to the James Bridges Theater for a screening.  This represents a $3 savings over the usual price of $8.) 

Tickets are also available at the theater starting one hour before showtime: $7 general admission; $5 students, seniors and UCLA Alumni Association members with ID.

310.206.FILM.

www.cinema.ucla.edu