Wu Dang or 大武當 (2012)
In the early days of Hong Kong movies, there was a tendency to include “kung fu” competitions as a major theme. This could be between two styles to determine which was the superior or to establish which was the best fighter regardless of style. When Bruce Lee was engineering his breakout into Hollywood, the use of a competition became standard as in Enter the Dragon (1973) and the partial The Game of Death (1978). Thereafter it was everyman and Karate Kid (1984) for himself as Jackie Chan led off with The Big Brawl (1980). with Jean-Claude Van Damme in Bloodsport (1988), Eric Roberts in Best of the Best (1989) and so on, following on behind. These were innocent times and such stories had the merit of appealing both as examples of the different fighting styles and as offering the chance for the audience to cheer as the underdog pulled off an improbable victory, e.g. Kurt McKinney in No Retreat, No Surrender (1986) where we get to blame Bruce Lee all over again. The fact none of the films was even remotely realistic simply added to the fun of it all. When we came into the 2000s, the fighting got more realistic as in Unleashed (2005) where Jet Li fights a number of vicious opponents for Bob Hoskins. It’s therefore disconcerting and not a little depressing to come to Wu Dang or 大武當 (2012). This rather painful effort revisits the theme of a martial arts competition without making even the remotest effort to make the film fit the mood of our modern times.
Set in the 1930s, we start off with Dr. Tang Yunlong (Zhao Wen-Zhou aka Vincent Zhao) and his daughter Tang Ning (Xu Jiao) establishing themselves as a caring couple. They are on the way to take part in a martial arts competition run by the Wudang Sect (this is is a fictional martial arts sect appropriately based in a Taoist monastery on Wudang Mountain and much favoured by authors of wuxia fiction). We’re supposed to see our hero as an Indiana Jones figure because his first action on landing in China is to steal a treasure map from a gangster called Paul Chen (Shaun Tam). By a “coincidence”, the map appears to show the location of seven treasures hidden on the mountain. Legend says that whoever can bring the seven treasures together will be able to command remarkable powers, i.e. it’s a rerun of The Touch (2002). In fact, the opening fight is actually quite interesting but, thereafter, the tone is set by the first appearance of Tianxin (Mini Yang). Her motive for flying to Wudang Mountain and participating in the competition is to recover her tribe’s lost sword. Hey, guess what! She has exactly the same map as our dashing professor. This suggests a conspiracy in the works. Her first fight in an aeroplane is laughable and, sadly, almost all the rest of the fighting both within the format of the competition and outside it, is badly choreographed with very poor wire work and the sequences cut in a way obviously designed to hide the weakness of the fighters. If in doubt, the director Patrick Leung Pak-Kin, has blows smash through adjacent timber supports or brick walls with the partitions and ceilings collapsing and clouds of dust hiding the next piece of action. The result is stylised, choppy and complete unrealistic. This rather defeats the exercise if this is intended as a “demonstration” of fighting skills.
As if that’s not bad enough, we also have romantic interludes between our trainee monk Shui Heiyi (Siu-Wong Fan) and Tang Ning, while Tang Yunlong and Tianxin also see great benefit in co-operation. Slowly the story develops as we learn Tang Ning is dying of a genetic disorder. This all makes perfect sense now. She hopes to win the competition against all the top fighter summoned to participate before dropping dead. No wait! Daddy has the fake map and if it leads to fake treasures, he can do the magic thing and cure her. Now that would surely be the optimum heart-wrenching way of ending the film and inducing the maximum amount of nausea. Can this be what will happen?
Then when you think it can’t get any worse, it gets worse in the same way as Storm Warriors, with one of these mystical transformation sequences that takes itself far too seriously and becomes laughable. Magic can be a very effective enhancement to the general fantasy feel of wirework kung fu fighting. With people flying through the air with the greatest of ease thanks to the amount of chi they control, it’s a small step to have them formally invoking godlike powers as the next evolutionary step. But unless this is done with great imagination or kept short, it quickly becomes boring and incomprehensible. Since we can’t be sure how the villain learned this magic (after all, it has not been done for centuries and there isn’t exactly a Magical Transformation for Dummies book lying around) and no-one really knows what the end point of the process is supposed to be, all we get are lines of power and whizzing thingamagummies flying around the body of the villain. Initially, this makes him invulnerable but, when he has to go ten rounds with the best of three falls, three submission or a KO with the professor, the end is certain.
Taken overall, Wu Dang or 大武當 would probably have been considered a reasonable film from Hong King in the 1980s. In 2012, it’s tedious and dull.