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The East Is Red (1993 film)
The East Is Red (1993 film)
The East Is Red (1993 film)
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The East Is Red
Theatrical release poster
東方不敗 - 風雲再起
Directed by
Screenplay by
Produced byTsui Hark
Starring
CinematographyTom Lau
Edited by
  • Chun Yu
  • Keung Chuen-tak
Music byWilliam Hu
Production
companies
Distributed byNewport Entertainment
Release date
  • 21 January 1993 (1993-01-21)
Running time
93 minutes
CountryHong Kong
LanguageCantonese
Box officeHK$11,248,503

The East Is Red (東方不敗 - 風雲再起), also known as Swordsman III and The Great China Warrior, is a 1993 Hong Kong wuxia film produced by Tsui Hark and co-directed by Ching Siu-tung and Raymond Lee, starring Brigitte Lin, Joey Wong and Yu Rongguang. The protagonist is loosely based on Dongfang Bubai, a minor character in the novel The Smiling, Proud Wanderer by Jin Yong. The film is considered a sequel to The Swordsman and Swordsman II.[1]

Synopsis

[edit]

Following Dongfang Bubai's apparent death, the jianghu sinks into chaos as it lacks a dominant figure to maintain the status quo. Several imposters use Dongfang Bubai's name to rally supporters to form their own clans and fight for power. One of Dongfang Bubai's devoted lovers, Xue Qianxun, rebuilds the Sun Moon Cult by impersonating Dongfang Bubai.

The imperial government sends a naval admiral, Gu Changfeng, to assist the Spanish in searching for the remains of a Dutch warship sunk near the site of Dongfang Bubai's apparent death. At the cliff, Gu Changfeng discovers that Dongfang Bubai is still alive, and manages to convince him to return to the jianghu.

Dongfang Bubai unleashes his fury and starts a bloodbath by eliminating all the impostors. Upon learning that Xue Qianxun has been impersonating him, he injures her in anger. Consumed by his desire for power, Dongfang Bubai decides to realise his ambition to unite the jianghu under his rule.

Gu Changfeng realises that Dongfang Bubai has gone out of control so he leads the imperial navy to fight Dongfang Bubai and his Spanish and Japanese allies. In the ensuing naval battle, all the warships are destroyed and Dongfang Bubai emerges victorious after defeating Gu Changfeng. When Xue Qianxun is killed, Dongfang Bubai realises his mistake and embraces his dead lover as he retires from the jianghu again.

Cast

[edit]

Release

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The East Is Red was released in Hong Kong on January 21, 1993. In the Philippines, the film was released as The Great China Warrior by World Films in April 1995.[2]

Critical response

[edit]

The film received a positive review from the Los Angeles Times.[1]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

The East Is Red (1993 film)

View on Grokipedia
from Grokipedia
The East Is Red (also known as Swordsman III: The East Is Red; Chinese: 東方不敗之風雲再起; lit. 'Invincible East: Wind and Cloud Rise Again') is a 1993 film co-directed by Ching Siu-tung and Raymond Lee, produced by , and starring as the cult leader Invincible Asia (). It serves as the third and final installment in the Swordsman trilogy, loosely adapted from Louis Cha's () classic novel . The film combines elaborate wire-fu action choreography, supernatural themes, and romantic intrigue. Brigitte Lin's gender-fluid performance as Asia—menacing yet melancholic—blending ferocity with emotional depth, has been noted for its cultural impact. Released on 21 January 1993 in Hong Kong, it grossed HK$11,248,503 at the box office despite mixed critical reception for its frenetic pace.

Background and development

Literary origins

The East Is Red (1993) draws its literary foundations from Louis Cha's novel (Chinese: Xiao Ao Jiang Hu), serialized in Hong Kong's newspaper from 1967 to 1969. The story centers on intricate power struggles within sects, with the character serving as the enigmatic leader of the Sun and Moon Holy Sect, a cult-like organization pursuing dominance in the (martial world). Dongfang Bubai achieves unparalleled martial prowess by practicing the forbidden Sunflower Manual, a technique that grants near-immortality and invincibility but requires extreme physical alteration. In the novel, embodies through a profound transformation: self-castration to master the manual, leading to a shift toward feminine presentation, including and domestic roles alongside a romantic partner. This arc underscores themes of power and ambition, portraying the character's pursuit of supremacy as ultimately yielding to personal desires over sectarian control, highlighting the corrupting allure of absolute authority. The genre, rooted in Chinese literary traditions dating to the and flourishing through Ming and tales of chivalric knights-errant, emphasizes righteousness, loyalty, and supernatural feats against corrupt powers. By the mid-20th century, modern novels like Cha's revitalized these elements amid social upheavals, such as the . Adaptations surged in 1990s cinema, a boom period producing over 250 films annually, where directors like loosely interpreted works like into the Swordsman series, blending wire-fu action with thematic depth to reflect cultural anxieties around the 1997 .

Pre-production

Following the commercial success of Swordsman II (1992), Tsui Hark revived the Swordsman series by producing and co-writing The East Is Red (1993), aiming to capitalize on audience demand for Brigitte Lin's portrayal of the enigmatic villain Dongfang Bubai, despite the character's demise in the prior film. Hark assembled a creative team including co-directors Ching Siu-tung, who had helmed Swordsman II, and Raymond Lee Wai-man, emphasizing a vision that fused traditional wuxia martial arts with heightened fantastical and supernatural motifs to elevate the genre's spectacle. The script, developed by Hark alongside Roy Szeto Wai-Cheuk and Charcoal Tan, centered on expanding Dongfang Bubai's origin story with innovative elements such as naval confrontations and foreign adversaries, while maintaining a loose connection to the character's roots in Louis Cha's novel . Produced by Film Workshop, Long Shong Pictures Ltd., and Golden Princess Film Production Ltd., the project exemplified mid-1990s cinema's fast-paced commercial approach, rushing into development to exploit franchise momentum amid a competitive market for action blockbusters.

Production

Filming

Principal photography for The East Is Red commenced in 1992 in , ahead of its January 1993 release. The production was hastily assembled by to leverage the commercial success of (1992), with Hark serving as producer and providing intermittent directorial input alongside co-directors Ching Siu-tung and Raymond Lee Wai-man. The shoot proved chaotic, marked by severe scheduling conflicts, shortages of available actors, and external pressures including triad interference, which Hark later described as emblematic of the impending decline in Hong Kong cinema. These logistical hurdles necessitated an efficient filming process, contributing to the film's concise 93-minute runtime. Ching Siu-tung, renowned for his innovative action direction, oversaw the , shifting emphasis from conventional swordplay to fluid, imaginative sequences that incorporated wirework for dynamic movements and large-scale battles, including naval confrontations involving foreign elements like galleons. Coordinating these elaborate scenes with extras posed significant on-set challenges amid the rushed timeline. Lead actress , reprising her role as Asia the Invincible, underwent physical preparation for the demanding fight sequences while simultaneously working on other films, highlighting the intense multitasking common in 1990s productions. The use of practical effects for sword combats and explosions exemplified the era's resourceful, low-budget ingenuity in local cinema.

Visual style and effects

The visual style of The East Is Red is characterized by Tsui Hark's signature explosive color palette, which saturates scenes with vibrant reds, golds, and blues to evoke a mythical China infused with fantastical chaos. This approach heightens the film's spectacle, blending historical authenticity—such as ornate imperial architecture—with deliberate anachronisms like Spanish galleons invading coastal battles and Japanese ninjas wielding supernatural weapons, creating a disorienting yet immersive . Rapid editing, a hallmark of cinema under Tsui's production influence, propels the narrative through frenetic cuts during combat sequences, contrasting quieter, introspective moments to underscore emotional tension amid the frenzy. Effects techniques in the film rely heavily on practical wirework to achieve the soaring, gravity-defying , particularly in sequences where characters like (Asia the Invincible) execute aerial assaults with embroidered needles that extend like threads to ensnare foes. Directed by Ching Siu-tung, a specialist in action, these wire-fu elements deliver fluid, balletic fights that emphasize prowess without overt reliance on digital augmentation. include transformations such as galleon sails into flying carpets and ethereal powers during resurrection scenes, along with practical model work for creaky , reflecting the era's technological constraints in filmmaking. Practical effects and model work expand the epic scale of battles, depicting vast seascapes and hybrid vessels like a galleon-submarine hybrid, which merge maritime warfare with fantasy to amplify the film's blend of historical epic and absurdity. Cinematography, handled by Lau Moon-tong, employs dynamic camera movements—sweeping pans and low-angle tracking shots—to capture the of chaotic group battles, while steadier, framing highlights intimate character confrontations, such as tense standoffs between lovers turned adversaries. This technique mirrors Tsui Hark's broader vision for the Swordsman series, prioritizing visual poetry in action over linear storytelling. The film's aesthetics draw from 1990s wuxia trends, echoing the fantasy-martial arts fusion seen in Tsui-produced works.

Plot

The plot revolves around Officer Koo Cheung-fung (), a official who joins a warship expedition to the Black Cliffs to confirm the demise of Invincible , the villainess who achieved near-divine abilities through self-castration and mastery of a sacred . , presumed dead after her defeat in the previous film, reemerges to dismantle impostors masquerading as her, sparking a whirlwind of destruction that ensnares her former lover (, also known as Cici) and draws in international foes like ninjas and Spanish naval forces. The story culminates in a tragic confrontation.

Cast and characters

ActorRole
Invincible Asia (Dongfang Bubai)
Snow (Xue Qianxun)
Officer Koo Cheung-fung (Gu Changfeng)
Jean WangSnow's Concubine (Dai)
Lau ShunWarden of the Holy Altar
Asia's Follower
Fennie YuenAsia's Follower
Michelle ReisLady Ko

Music and soundtrack

The score for The East Is Red was primarily composed by Wu Wai-lap (also known as William Wu), with additional music contributions from Richard Yuen. The theme song, "Xiao Hong Chen" (笑紅塵; "Laughing in the Mundane World"), was composed and written by Chris Babida and performed by Sarah Chen. An original soundtrack album, titled The East is Red (Original Soundtrack), was released in 1993 by Sarah Chen and Wu Wai Lap. It features 24 tracks, including vocal performances by Sarah Chen and instrumental cues from the film's score, such as "Yi Qing" (憶情), "Xue Qian Xun" (雪千尋), and "Zui Wu" (醉舞).

Release

Box office performance

The East Is Red was released in on 21 January 1993 and grossed a total of HK$11,248,503 at the local . This figure positioned the film at 31st place among the highest-grossing productions of 1993, a year marked by intense competition in the genre from titles such as Flirting Scholar (HK$40,171,804), (HK$30,669,723), and Once Upon a Time in China III (HK$27,461,435). The film's commercial performance benefited from Brigitte Lin's established stardom and the franchise's prior success, particularly (1992), which had been a major hit and prompted the quick production of this sequel to capitalize on audience interest. However, it was overshadowed by the year's dominant releases, contributing to its moderate ranking in a crowded market. Internationally, the film saw limited theatrical distribution, including a subtitled release in the United States on 6 June 1993. In the , it was dubbed and distributed as The Great China Warrior by World Films in April 1995.

Critical reception

Upon its release, The East Is Red received a positive review from the , which praised its visual spectacle and Brigitte Lin's mesmerizing performance as Asia the Invincible, highlighting the 's stylish execution and sly amusement amid themes of sexual ambiguity and anti-Ming oppression. In , critiques were mixed, with Variety describing it as "daft, energetic fun" appealing to action fans through its inventive choreography, though other reviewers noted plot incoherence as characters' motivations became increasingly questionable. Critics commonly lauded Brigitte Lin's charismatic portrayal of the gender-fluid antagonist, emphasizing her commanding presence and the film's innovative action sequences, including wire-fu battles that blended fantasy with high-energy stunts. The choreography, directed by Ching Siu-tung, was frequently highlighted for its fluid, acrobatic style that elevated the genre's set pieces. However, the film faced for its overly chaotic , which prioritized visual flair over coherent , leading to a progression of events. Reviewers also pointed to cultural clashes in the plot, such as Japanese ninjas invading the , which introduced anachronistic elements that undermined historical consistency. Audience reception reflected this divide, with an IMDb user rating of 6.1/10 based on over 1,800 votes. In retrospective analyses during the , the film has been appreciated for its role in reviving genre flair, with articles crediting and Lin for infusing the trilogy's finale with wild vivacity and special-effects-driven fantasy that influenced later kung fu cinema.

Themes and analysis

The East Is Red explores several interconnected themes, drawing from its roots and the socio-political context of cinema. Central to the narrative is gender fluidity and transformation, embodied by Invincible Asia's self-castration to attain supreme power from the sacred scroll, blending masculine authority with feminine allure in Brigitte Lin's portrayal. This depiction has been interpreted as a commentary on the fluidity of identity and the personal costs of ambition. The film also delves into the corrupting allure of power and immortality, as Asia's resurrection and quest to reclaim her title amid impostors highlight how the pursuit of invincibility leads to isolation, betrayal, and destruction. Themes of love and deception intertwine with this, particularly in the tragic romance between Asia and Snow, which underscores emotional vulnerability beneath martial prowess. Additionally, the story allegorically addresses identity and false idols in a chaotic world, with multiple figures masquerading as symbolizing societal desperation for leadership during a crumbling dynasty and foreign incursions. The title itself evokes the Cultural Revolution anthem "The East Is Red," potentially alluding to cults of and fervor in Chinese history.

Legacy and influence

The East Is Red concluded the Swordsman trilogy, capitalizing on the commercial success of its predecessors to further innovate within the genre. The film's elaborate wire-fu action sequences, directed by Ching Siu-tung, and its integration of elements influenced subsequent productions in the 1990s, emphasizing visual spectacle and dynamic choreography. Brigitte Lin's portrayal of Asia the Invincible solidified her status as a cinematic icon, particularly for her gender-fluid performance that blended menace with vulnerability. This role sparked a trend of androgynous and characters in films, leading to Lin being typecast in similar sexually ambiguous warrior roles throughout the decade, such as in (1994). Her depiction of Asia has been celebrated as a milestone in cinema, contributing to discussions on gender and identity in pop culture. Lin retired from acting in 1994, partly due to the industry's deteriorating conditions. The production's chaos, marked by overlapping cast schedules and external pressures, was later described by as the "doomsday toll" for Hong Kong's , foreshadowing its decline amid triad interference, overproduction, and shifting markets in the mid-1990s. Despite mixed reviews for its frenetic pacing, the film remains a cult favorite, highlighting themes of , betrayal, and power that resonated with audiences and reflected broader cultural anxieties.

References

  1. https://www.hkmdb.com/db/movies/view.mhtml?id=7682&display_set=eng
  2. https://www.scmp.com/lifestyle/entertainment/article/3091557/how-tsui-hark-brigitte-lin-revived-swordsman-series-east
  3. https://www.themoviedb.org/movie/18667
  4. http://strangehorizons.com/wordpress/non-fiction/jin-yongs-protagonist-that-wasnt-dongfang-bubai/
  5. https://www.scmp.com/lifestyle/entertainment/article/3137832/starring-jet-li-and-transsexual-theme-swordsman-ii-was
  6. http://www.davidbordwell.org/books/planethongkong-davidbordwell-110111.pdf
  7. https://etd.auburn.edu/bitstream/handle/10415/865/WALTERS_MARK_59.pdf?sequence=1&isAllowed=y
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  19. https://cinemasie.com/en/fiche/boxo/1/1993.html
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  23. https://www.latimes.com/archives/la-xpm-1994-05-20-ca-60170-story.html
  24. https://variety.com/1993/film/reviews/the-east-is-red-swordsman-iii-1200432397/
  25. https://thespinningimage.co.uk/cultfilms/displaycultfilm.asp?reviewid=6135
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  31. https://bleedingcool.com/pop-culture/look-it-moves-by-adi-tantimedh/look-it-moves-by-adi-tantimedh-105-hurrah-for-the-sexually-ambiguous-swordswoman-from-china/
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