If you don't like this, we can't be friends.

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

THE TRAIL OF THE BROKEN BLADE is one of the early wuxia films made by director Chang Cheh for Shaw Brothers, and starring the one and only Jimmy Wang Yu as the upstanding hero of the piece. Unfortunately, like THE ASSASSIN, it's a film that I had a problem with because of the dearth of action; apart from a brief murder and bit of swordplay at the outset, all of the action is saved for the admittedly exciting climax. The rest of the film is all about plot, plot, plot, interspersed with some romance and some melodrama.The viewer is able to sit back and enjoy the stunning sets and exemplary production values, as well as the appearance of many Shaw actors like Fan Mei Sheng, Wu Ma, Cheng Lei, and Tien Feng. However, this kind of plotting we've seen play out dozens of times in Shaw flicks, and it all feels a bit drawn out, a bit slow, a bit lacking. You just want Wang Yu to burn up the screen like he did in THE ONE-ARMED SWORDSMAN films. It's still a fun watch, just no classic for me.

In 1967, the conventions of the Chinese martial arts film as we know it were still being established. Shaw Brothers had released King Hu's groundbreaking swordplay drama "Come Drink with Me" the year before, and it established a trend toward better, more realistic action choreography. Chang Cheh was contributing to the evolution of the swordplay film, too: "The Magnificent Trio" (1966) was rough around the edges but showed a lot of promise, and Chang's approach had become considerably more sophisticated and streamlined by the time he directed "Trail of the Broken Blade". Critics don't care much for this one, but it really was the prototype for every subsequent Chang Cheh movie...and for just about everything else, since Chang was so widely imitated. All the elements of his formula are here: a stern, chivalrous hero (Wang Yu) who faces seemingly impossible odds; a comic book-type villain (Tien Feng) who resides at the center of an impregnable fortress and whose henchmen wield an array of exotic weapons; and, of course, messy stomach wounds. Watch any Chang Cheh film made after "Trail of the Broken Blade" and you'll see how it built on the foundation laid here. The action (choreographed by Tang Chia and Liu Chia-liang) is too infrequent but holds up surprisingly well, especially during the bloody final battle. (In my opinion, the fights in "Trail" are superior to those in Chang's later--and more successful--"The One-Armed Swordsman".) There's some fine acting, too, particularly from supporting players Chiao Chiao and Wei Ping-ou. Any fan interested in the origins of the genre should see this film.

In BEACH OF THE WAR GODS, there's a quintessential Wang Yu moment. It comes at the very end of the movie, when Yu is battling the king villain. They're on a windmill and Yu jumps up and latches onto one of the slowly spinning blades. For no apparent reason, he dangles from the turning blade for several revolutions. His opponent watches, mystified (much like the viewer, one suspects), until Yu finally just drops off. It's an unintentionally funny scene because Yu apparently has no justifiable REASON for doing it. I think that what happened was that he saw an opportunity to just go for it- and he did, nonsensical or not. There are no such moments in THE TRAIL OF THE BROKEN BLADE: it's all played straight, with no humor whatsoever. There are precious few fight scenes, and what there ARE are lacking (most are shot in wide shots). Although Wang Yu's character, Li, is "born to be versed in martial arts," he displays little in the way of real ability here. Not Cheh's best.

TRAIL OF THE BROKEN BLADE (1966) is another Shaw Bros. swordplay adventure from the mid-1960s directed by Chang Cheh and starring Jimmy Wang Yu before he became a kung fu star with THE Chinese BOXER (1970, aka HAMMER OF GOD). There is plenty of swordfighting and it's consistently exciting, even though it's not terribly realistic. The hero tends to slash his opponents and kill them dead without much in the way of real sword technique or bloodshed. He also makes those superhuman high leaps and acrobatic flips found in the early swordplay films. More authentic martial arts techniques would take hold the next year with ONE-ARMED SWORDSMAN and its sequel, RETURN OF THE ONE-ARMED SWORDSMAN (1968), both also starring Wang Yu and directed by Chang Cheh, with action scenes by Tang Chia and Liu Chia Liang.The intricate storyline here has Wang Yu play Li, a fugitive wanted for killing the official who framed his father. His girl, Liu, still pines for him although she is loved by Fang, a swordsman hired by her father to teach her self-defense. Fang, seeking to make Liu happy, sets out to find Li. When he does, the two form an immediate, instinctive bond of friendship. Eventually, Li's enemies locate him and issue a challenge to fight them on Flying Fish Island. Li swims there alone, followed soon after by Fang and Liu who join him for the final battle, although they first have to negotiate a cave filled with traps. There is a tragic ending and a beautiful, heavenly finale.The swimming scene reminds us that Wang Yu started out as a swimming champ, not a martial artist. He's very good in this film although his melodramatic acting may seem a bit overwrought to fans of his later films. Nonetheless this compares well with his other 1960s Shaw Bros. swordplay films, TWIN SWORDS, THE ASSASSIN, THE MAGNIFICENT TRIO and THE GIRL WITH THE THUNDERBOLT KICK, although his masterpieces of the era remain the two One-Armed Swordsman films.The film boasts excellent cinematography with scenes shot on lavish studio sets and picturesque outdoor locations. There is a very nice original Chinese score, with some pleasant choral songs on the soundtrack. The Tai Seng VHS edition is in Mandarin with English subtitles, although the full-frame transfer cuts off the subtitles on the sides, making some dialogue difficult to decipher. When are these early subtitled Shaw Bros. films going to be letter-boxed?ADDENDUM: (9/26/07) This film was indeed released in a restored/letterboxed Region 3 DVD edition from Celestial Pictures on August 1, 2003.