Riot in the Imperial Palace
Dir: Fung Chi-kong Scr: Lee Siu-wan
Co-starring: Lam Kar-sing, Sek Yin-tsi, Yam Bing-yee
1960 / B&W / D Beta / Cantonese / 89min
The “Qiao Kung” (foot-binding technique) is Yu Lai-zhen’s signature martial arts move, especially in her seven “foot-binding heroine” genre films. Her character in Sister Thirteen in Riot in the Temple (1960) and this film is the most memorable in the genre. A continuation of Riot in the Temple , this installment follows Sister Thirteen as she takes vengeance for her father’s death by infiltrating the murderer’s household. Here, the “Qiao Kung” move is not just for martial arts spectacle. Not only is it integral to the plot’s progression, it is also used to identify Sister Thirteen’s own gender identity when she isn’t in a fight. When Sister Thirteen is arranged to be married at the end of the film, she even uses her most lethal weapon to kicks up a large boulder to blockade the doors symbolising her reluctance in coping with the traditional female identity of an obedient wife.
||Cinema, Hong Kong Film Archive
The contents of the programme do not represent the views of the presenter.
The presenter reserves the right to change the programme should unavoidable circumstances make it necessary.