Yuen Biao is one of Hong Kong cinema’s most underrated performers. Having been overshadowed by his big brothers, Sammo Hung and Jackie Chan, it’s a shame that some of his films get pushed to the wayside. Thankfully, we have companies like 88 Films that aren’t afraid to give his work the premium treatment it deserves. Rosa (1986), On the Run (1988), and Saga of the Phoenix (1990) are set to be released soon, and first up on the agenda is Saga of the Phoenix, the sequel to 1988’s Peacock King. It’s wackier than its predecessor, but that’s all part of its charm.
Ashura (Gloria Yip), the Holy Maiden of Hell, has been condemned to eternal imprisonment inside the belly of a giant Buddha statue for the crime of using her magic on Earth. Unable to accept a sunless eternity, she is granted a final mercy: one week of freedom on Earth. To ensure she returns and refrains from using her powers, Peacock (Yuen Biao), Lucky Fruit (Hiroshi Abe), and other guardians are assigned to watch her every move.
Unbeknownst to them, Hell’s Concubine schemes to steal Ashura’s powers and seize control of the underworld, dispatching her minions to hunt her down. When Ashura befriends a mischievous genie who becomes possessed, loyalties are tested, and time runs out. Will Ashura fulfill her fate or escape it forever?
Saga of the Phoenix has a handful of really impressive action scenes, but spends most of its time trying to be funny. It works—just in a really bizarre way.
Yuen Biao and Gloria Yip reprise their roles from the previous film, and both of them are wonderful, except for the fact that Biao’s character spends most of his time frozen. Since most of the other returning characters were recast, you wouldn’t necessarily need to see the first film to enjoy this one.
Co-directed by Lam Nai Choi and Lau Shut-Yue, the two distinctly different styles sometimes clash but ultimately work well together. A co-production between Golden Harvest in Hong Kong and Toho in Japan, both studios clearly put their all into the film. You can especially feel the Japanese influence in some of the creature designs.
The special effects are fun, and the little farting imp character combines puppetry and stop-motion. The film is a bit uneven, but it still manages to be a really fun ride.
The special limited-edition release from 88 Films is loaded with extras, including an audio commentary track, a discussion with Albert Lee, alternate Japanese footage, an image gallery, and the original trailer. It’s housed in a rigid slipcase with a collectible postcard and a 40-page perfect-bound book featuring several new essays.
It’s a wild and weird fantasy film that really picks up steam in the final act, and this release couldn’t be any more perfect.
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