Luc Van Tien: Tuyet Dinh Kungfu (2017) Review

“Luc Van Tien: Tuyet Dinh Kungfu” Vietnamese Theatrical Poster

Director: Hoang Phuc
Cast: Andy Long, Diep Lam Anh, Thanh Loc, Kim Tuyen, Du Au, Khoi Chau, Andy Le, Brian Le
Running Time: 90 min.

By Martin Sandison

Some years back my friends and I were active in the Indie kung fu movie scene, and made some features and shorts. We posted on the Stunt People Forum, which is a great way to share videos and support each other. Although there were many great performers, one stood out: Andy Long Nguyen. His story has now gone down in legend, that of being Jackie Chan’s biggest fan. Many people may lay claim to this, but Nguyen is the one who trained and worked so hard, eventually becoming a member of the Jackie Chan stunt team. Appearing in for me the last movie to show Jackie at his fighting best, Chinese Zodiac, Nguyen has subsequently worked on the fantastic (but sadly cancelled) AMC show Into The Badlands. A few years ago he also realised another dream; to stunt co-ordinate and star in his own feature, Lục Vân Tiên. Unfortunately the film still hasn’t been distributed, a real shame. It’s damn good, and as a homage to his hero he couldn’t have done it better, and more than that: here it is plain to see he’s a worthy successor to Chan.

Nguyen stars as the historical hero Lục Vân Tiên, who is magically (and unexplainably) transported to future Vietnam. He befriends a scammer Teo (Huu Tien) who attempts to use Lục for his own monetary ends. Soon the two get mixed up with a bunch of traffickers after Lục saves Nga (Kim Tuyen) from them, and the stage is set for kick assery of the highest order.

As soon as the first two fights kicked in; a realisation hit me: Nguyen has the skills and innovation in action of Jackie in his prime. An important point, and one that distinguishes him from merely being a clone, is he combines this with modern styles. His abilities as a tricker have been there from the start, so much so I would say he’s up there with exponents like Scott Adkins, whom he fought in Boyka: Undisputed. Back years ago the best stuff I saw in the Indie groups was all about this combination, and with Lục Vân Tiên here is the apotheosis. Two group fights, one involving that classic old school prop, metal rings, the other a hard hitting hand to hand fight reflect the ability of Nguyen and his stuntmen. All of them have the techniques, reactions and falls that are right up there with the cream of Hong Kong in the golden age. Early in the film Lục gets his ass handed to him in a two-on-one, and come the end I was expecting a rematch. Boy, does it deliver.

The Ruwwe brothers, Lorenz Hideyoshi and Felix Fukuyoshi, part of the Young Masters group, square up against Nguyen in a fight that awakens my inner kung fu movie child. I’ve rewatched it three times now, and that’s not usual when I watch a martial arts movie these days. The rhythm and timing, high energy exchanges and invention of the choreography makes my jaw drop. Another group that get in on the action are Martial Club, the only young guys I’ve seen in their shorts that can do proper old school shapes (check out one of their collaborations with Nguyen, Drunken Fist vs Praying Mantis Kung Fu on Youtube). Andy Le, Brian Le and Du Au have a few very cartoony comedic fights with Nguyen, and though they bring the skills and hilarity (a running joke with a blade piercing Andy Le’s ass is up their with vintage Jackie), I did think they were a bit underused in terms of their abilities as screen fighters.

As an overall film Lục Vân Tiên is very entertaining throughout, despite being very silly. The set up alone speaks of this, not to mention the tone which is consistent in this way. The whole thing feels like a Hong Kong movie of the 80’s, where anything goes and you gotta flow with it and enjoy the ride, not questioning what you see. Nguyen’s triumph is not only creating this, but making the film feel modern and fresh, not just in the action also in the film making style that utilises a bold colour scheme. There is a depth of knowledge in how to use a low budget to your advantage that should make Independent filmmakers sit up and take note. Director Hoang Phuc Nguyen, in his directorial debut, peppers the movie with nice compositions and eye-catching locations, meaning the screen doesn’t go dead when there’s no fighting.

Something that simultaneously makes me smile and irks me is the approach of this movie; one that the Indie guys, and some professional filmmakers like Chad Stahelski and Iko Uwais are taking. It’s one wherein the the skills of the performers are given room to breath, and have pleasingly old school ways about them, with proper stunt falls and the style of film making that Hong Kong cinema revolutionised. What irks me is that Hong Kong movies, with a few exceptions a year, are not following this beautiful pattern they lade out. I don’t have to mention Chan’s output in recent times, Sammo Hung hasn’t choreographed a film in 2 years (the last one, Paradox, conveys his still complete mastery of the form), and Ching Siu Tung’s return looks to be wading in the mire of Mainland CGI bullshittery. In fact, it more makes me very sad than irks me. A few years back I wrote a review of gangster film Trivisa, saying I was worried about the future of Hong Kong. With all of the troubles happening now, my worries have become a reality. Hong Kong and its culture is compromised beyond belief, and the movies we all loved have become sanitised and expressionless shadows of what they used to be.

The only constant in life is change, and it’s now up to other countries and filmmakers like Nguyen to give us the beautiful action we all crave. I hope that you guys can check out this movie soon, it certainly deserves distribution and a wide release. Nguyen’s natural talent, not just as an action performer and choreographer but as an all-round filmmaker, is plain to see. I sincerely hope this new generation, including the likes of Eric Jacobus (Blindsided) and Jean Paul Ly (Nightshooters), take the world by storm and develop the beauty and visual poetry of onscreen martial arts action.

Martin Sandison’s Sating: 8/10