Hu Chin-chuan
About
Biography
Filmography
Family & Companions
Notes
"Hu said in the mid-1980s that he typically made a film with a budget of no more than $1 million and a shooting schedule of about 40 days. Hu wrote most of his own films." --From "King Hu; Award-winning Martial Arts Film Director" by Myrna Oliver, LOS ANGELES TIMES, January 16, 1997.
"When 'Swordsman' was shown in Alhambra and Los Angeles in 1990 [LOS ANGELES TIMES writer Kevin] Thomas called it 'a whirlwind of a movie [with] everything you could ask of an action/adventure: fly-through-the-air-with-the-greatest-of-ease combat and swordplay, bravura camera work and music to match the breathtaking acrobatics, fabulous period sets and costumes, speed-of-lightning pacing and nonstop special effects wizardry.'""'More important,' he added, 'it has a blithe spirit, a sense of humor, style to burn and a genuine aura of enchanting screen magic."--From Oliver, LOS ANGELES TIMES, January 16, 1997.
Biography
A prime mover in the development of the modern Chinese kung fu movie, King Hu helped open up the West to the blazing passions of Hong Kong action filmmaking with the 1975 Cannes screening of his "A Touch of Zen" (1969), a heady blend of swordfighting, Zen Buddhism, magical acts and Ming Dynasty period detail. Raved English critic Tony Rayns, "...And the visual style will set your eyes on fire." Hardcore cultists--and much of Asia--had already been familiar with such fare for quite some time. Chopsocky flicks had long been a staple of urban grindhouses but filmmakers like Hu helped reveal the artistic potential of the form.
Many HK martial arts films focused on the fight scenes and displaying assorted styles of kung fu; too often their plots, rife with anachronisms, were just a device for stringing the fights together. Widely acknowledged as a master of the historical martial art film genre (Wu Hsia P'ien or Wu Xia Pian in Chinese), Hu aspired toward authenticity with his meticulously researched art direction. He favored the Ming dynasty (1386-1644) as a setting for its stories as it reflected aspects the Chinese political climate of his day.
Some have criticized Hu's films for the sometimes excessive stylization of their fight scenes. Surprisingly, the filmmaker has stated that he knew nothing about kung fu or martial arts. He preferred the more cultured thrills of the Peking Opera which he began attending as a child. Playing down the fighting in his films, Hu has likened the choreographed action to dance. "I am very interested in the Peking Opera and particularly its movement and action effects, although I think it's difficult to express them adequately on stage, where the physical limitations are too great." Such sentiments explain his casting Shanghai-born ballerina, Cheng Pei-Pei, in his epic "Come Drink with Me" (1965). This "stunt" casting paid off as the film broke box-office records during its first run. Cheng Pei-Pei, subsequently a contract player for the Shaw Brothers, went on to become a major kung fu star. "Come Drink with Me" is also notable as one of the first Chinese films to employ the camera movements and visual techniques (i.e., quick-cut montages) of modern Western cinema to classical martial artistry. Hu's films were also influenced by classic Chinese literature and paintings in addition to Peking Opera.
In addition to working with the major male action stars of the 60s and 70s, Hu was responsible for launching the careers of several actresses including Polly Ling ("Dragon Gate Inn" 1967) and Hsu Fung ("A Touch of Zen"; "The Valiant Ones" 1974). Angela Mao Ying was already well known prior to her association with Hu but his "The Fate of Lee Khan" (1973) provided her with one of her classiest vehicles.
Having gained notoriety in the West with the flashy calling card that was "A Touch of Zen," it was only a matter of time before Hu came to America. He settled in Southern California in the mid-80s. Hu became attached to a long-in-development script by David Henry Hwang and Gary Tiesche about Chinese immigrant railroad workers in 19th century Northern California. He died after heart surgery in Taipei, Taiwan before the project could come to fruition.
Filmography
Director (Feature Film)
Writer (Feature Film)
Producer (Feature Film)
Editing (Feature Film)
Art Director (Feature Film)
Costume-Wardrobe (Feature Film)
Life Events
1950
Hired to work in the design department of the Yong Hua Film Company; went on to work as an actor, assistant director and scriptwriter
1962
Feature directing debut, "Yu T'ang Ch'un/The Story of Sue San"; credited as executive director; subsequently disowned film
1963
Credited as co-director of Liang Shan-po yu Chu Ying T'ai/Eternal Love"
1964
First solo directing credit, "Ta Ti Erh Nu/Children of the Good Earth"
1965
Credited for co-scripting and writing lyrics for "Ta Tsui Hsia/Come Drink With Me" (also directed)
1969
Helmed best known work, "A Touch of Zen"
1970
Founded King Hu Productions
1973
Feature producing debut, "Ying Ch'un Ko Chih Feng Po/The Fate of Lee Khan/Trouble at Spring Inn" (also directed and co-scripted)
1975
The six-year-old feature "A Touch of Zen" shown at Cannes Film Festival; won the Grand Prix de Technique Superieur; reputedly the first Chinese production to win a grand prize at the festival
1989
Credited as director (with HK "New Wave" figure Tsui Hark) on "Hsiao Ao Chiang Hu/Swordsman"; touted as the "comeback" film for the director of "A Touch of Zen"; left early in the production due to artistic differences with Hark; reports vary as to just how much, if any, of Hu's footage remains
1991
Honored at the Los Angeles Film Festival sponsored by the American Film Institute
1993
Completed last feature, "Painted Skin"
1996
Attached to direct "The Battle of Ono", a long-in-development script by David Henry Hwang and Gary Tiesche for Sanford-Pilsbury Productions
Companions
Bibliography
Notes
"Hu said in the mid-1980s that he typically made a film with a budget of no more than $1 million and a shooting schedule of about 40 days. Hu wrote most of his own films." --From "King Hu; Award-winning Martial Arts Film Director" by Myrna Oliver, LOS ANGELES TIMES, January 16, 1997.
"When 'Swordsman' was shown in Alhambra and Los Angeles in 1990 [LOS ANGELES TIMES writer Kevin] Thomas called it 'a whirlwind of a movie [with] everything you could ask of an action/adventure: fly-through-the-air-with-the-greatest-of-ease combat and swordplay, bravura camera work and music to match the breathtaking acrobatics, fabulous period sets and costumes, speed-of-lightning pacing and nonstop special effects wizardry.'""'More important,' he added, 'it has a blithe spirit, a sense of humor, style to burn and a genuine aura of enchanting screen magic."--From Oliver, LOS ANGELES TIMES, January 16, 1997.
"Hu, who also was a painter, liked to employ the traditional Chinese painting style in the many misty scenes he shot. He would delay his production schedule for several days simply to wait for the right weather conditions, associates said." --From "King Hu Dies; Director of Artistic Martial Arts Films", THE HOLLYWOOD REPORTER, January 17-19, 1997.
