Film Review: Once Upon a Time in China III 黃飛鴻之三獅王爭霸 (1992) - Hong Kong
Reviewed by Andrew Chan (Film Critics Circle of Australia)
I rated it 9/10
Rating: ★ ★ ★ ★ 1/2
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In the grand tradition of Hong Kong cinema’s golden age, where history and myth collide in balletic fury, Tsui Hark delivers another thunderous chapter in the Wong Fei-hung saga with Once Upon a Time in China III. If the first two films were bold declarations of cultural identity amid colonial shadows, the third feels like a defiant roar in the heart of Beijing itself — a dazzling spectacle that marries jaw-dropping martial arts choreography with the quiet poetry of loyalty, legacy, and resilience.
Jet Li returns as Wong Fei-hung, the folk hero whose every movement is both weapon and philosophy. Here, he journeys to the capital with Aunt Yee (the luminous Rosamund Kwan) and his loyal disciples at a time of political ferment. A prestigious Lion Dance competition becomes the arena where personal honor, family duty, and larger forces of intrigue intertwine. Tsui Hark, ever the masterful conductor, stages sequences of breathtaking scale: the lion dances pulse with communal energy and rhythmic precision, while certain combat set pieces — particularly one involving slick, treacherous surfaces — rank among the series’ most inventive and viscerally thrilling.
What elevates Once Upon a Time in China III beyond mere action fireworks is its emotional core. Wong is not an invincible automaton but a man anchored by filial piety, quiet romance, and an unyielding sense of justice. Li’s performance carries the weight of legend with graceful restraint; his physicality is poetry in motion, yet his eyes convey the deeper burdens of a hero navigating a changing world. Kwan’s Aunt Yee brings warmth and agency, while the supporting ensemble crackles with rivalries that feel lived-in rather than cartoonish.
Tsui Hark’s direction crackles with ambition. The production design immerses you in late-Qing Beijing — bustling streets, towering sets, and crowds that make every confrontation feel epic. The score swells with traditional motifs that heighten the drama without overwhelming it. Yes, the narrative occasionally stretches to accommodate the set pieces, and some may argue the political undercurrents could bite deeper. But these are minor notes in a symphony that prioritizes exhilaration and heart.
In an era when many action films chase spectacle at the expense of soul, Once Upon a Time in China IIIreminds us why Hong Kong cinema reigned supreme: it fuses kinetic brilliance with cultural pride and human stakes. The climactic sequences deliver pure cinematic euphoria — the kind that leaves you cheering in your seat long after the credits roll.
I award Once Upon a Time in China III a resounding score. It may not eclipse the groundbreaking heights of its predecessors for every viewer, but it stands tall as essential viewing for anyone who believes martial arts cinema can be both thrilling entertainment and a vessel for something timeless. Seek it out, preferably on a pristine 4K Blu-ray or big screen if you can. Wong Fei-hung’s spirit endures — and so does the magic of Tsui Hark’s vision. (Neo, 2026)