Fantasia 2019, Day 11, Part 2: The Boxer’s Omen
For my second film of July 21 I stayed at the De Sève Theatre to watch one of my more anticipated movies of the festival. Each year Fantasia plays a Shaw Brothers film on 35mm — not one of the Shaw classics, usually, but one of their stranger works. The past few years I’ve seen Demon of the Lute, Buddha’s Palm, Flame of the Martial World, and Bastard Swordsman, as well as Five Fingers of Death. This year we got to see The Boxer’s Omen (Mo, 魔), from 1983, directed by Kuei Chih-Hung from his own story as scripted by Szeto On. Technically a sequel to Kuei’s film Gu, the English title hints at some of its influences: a bit of The Omen, a bit of Rocky, and a lot of low-budget exploitation film.
When Hong Kong gangster Chan Hung (Phillip Ko Fei) sees his brother crippled in a match with a cheating Thai kickboxer, Bu Bo (Bolo Yeung Sze), he travels to Thailand to challenge the evildoer to a revenge match. While there, weird visions lead him to a Buddhist monastery. It turns out that in previous lives Chan and the recently-deceased abbot were twins. This is a problem for Chan. The abbot killed the student of an evil wizard (Elvis Tsui), leading the wizard to then kill him with a spell that will now go on to kill Chan due to his linkage to the aforesaid abbot. Chan learns this from talking to the dead abbot, and after some confusion decides to become a monk to be able to defeat the wizard — but what of his match against the kickboxer who crippled his brother? And what about the wizard’s three living students?
This description of the plot barely hints at how bizarre, dreamlike, and transgressive this film is, but ideally gives an idea of how much scope there is for mystical goings-on. Rituals and spells are depicted with loving care, even when grotesque or indeed outright disgusting. But then a flashback in which the abbot fights the student and master wizards is simply surprising, as the duels involve crystals and puppets and wall-crawling and lurid lighting. On the other hand, an extended sequence shows the wizard’s students preparing a spell of revenge, which involves each of them eating and regurgitating food for the others to then ingest — and goes on from there, creating a demon inside a crocodile corpse, who Chan eventually must defeat. That of course comes at the climax of the film, in an ancient temple in Nepal, when Chan must engage in a magical fight unlike any I have ever seen.
What is most strange about the film is how it doesn’t feel like a straight-ahead exploitation film. Theoretically it should. There’s the gross-out bits, there’s a couple of violent kickboxing scenes, there’s a fair amount of nudity. And yet there’s also something else going on. I’ve seen some writers compare the film to Jodorowsky, and maybe that’s reasonable for the weirdness of it.