![]() ![]() In the first act alone he uses this technique to establish location, to heighten visual tension, and to create a sense of voyeurism in the audience that we later learn is shared by one of the supporting characters. The first act of this film really illustrates Tarantino’s observation that Wang Yu as a director seems to have gotten the closest of anyone in capturing the feel of the comic book work of the great Jack Kirby and it’s in the framing of objects in the foreground playing against objects in the background while all elements remain in focus. Wang Yu likes to employ multiple layers of depth and focus to create visual interest and really utilize the widescreen format. That’s why it’s so important to really take a deep look at Beach of the War Gods because, and I say this with all due respect to Master of the Flying Guillotine, this film is probably his most impressive work behind the camera.įoremost, the compositions are masterful. ![]() ![]() Thankfully, things seemed to have swung back in the other direction, and new attention is being paid to his merits, not just as a performer, but as a filmmaker. When I began collecting, it was en vogue to highlight his shortcomings and personal warts and praise was handed out sparingly as if there were a danger should he get too much. There’s been a recent reappraisal of Jimmy Wang Yu in the time since I’ve been learning about Eastern cinema. It’s as if someone wrote a play in a perfect pastiche of Shakespeare’s blank verse about the Easter Rising. There’s a delightful contradiction between form and content at the heart of Beach of the War Gods: formally the film stands as a love letter to the action cinema of Japan, particularly the work of Akira Kurosawa but all of that love is deployed in a story that is built on the pain and shame of the Japanese occupation during World War 2. He made appearences in such movies in the 80s as "Fantasy Mission Force" and "Shanghai 13." In 1991, Wang Yu served on Taiwan's "Two Worlds of Chinese Films Organization" committee, his films "Temple of the Red Lotus" and "One Armed Swordsman" (among others) represented.“Beach of the War Gods” Theatrical PosterĬast: Jimmy Wang Yu, Lung Fei, Tin Yau, Sit Hon, Shan Mao, Choi Wang, Kwan Hung, Cheung Yee Kwai, Su Chen Ping, Hsieh Hsing, Cho Kin, Blacky Ko Sau Leung, Jack Long Sai Ga, Lui Jun, Man Man, O Yau Man He has starred in and has directed many classics, including the "One Armed Swordsman" and the "Chinese Boxer." He married Ling Cui in 1969, and in 1975 they divorced with Wang Yu marrying a flight attendant. A hard working, intelligent person, Wang Yu quickly became one of the hottest male actors in the Chinese world. With Chang Cheh's "Tiger Boy" in 1966, he made a name for himself in the industry. He tested into the Shaw Brothers studio in 1963. He went to Hong Kong in 1960, where he continued to excel in swimming, horse riding, and car racing, which paved the way for his future in wuxia movies. He attended school in Shanghai, where he excelled in swimming. Wang Yu was born in 1944 in Jiangsu, China. One Arm Chivalry Fights Against One Arm Chivalry (1977) Zatoichi and the One-Armed Swordsman (1970)īoxers of Loyalty and Righteousness (1972) ![]()
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