Film Review: To Kill with Intrigue 劍花煙雨江南 (1977) - Hong Kong / South Korea
Rating: 6.5/10
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Reviewed by Andrew Chan (Film Critics Circle of Australia)
Jackie Chan’s “To Kill with Intrigue” (劍花煙雨江南, 1977) is a curious entry in the martial arts genre, a film that attempts to blend high drama, intricate plotting, and the physical spectacle Chan would later become famous for. Directed by Lo Wei, the movie is a departure from Chan’s usual comedic fare, opting instead for a more serious, almost operatic tone. While its ambition is commendable, the execution is uneven, resulting in a film that feels more like a missed opportunity than a fully realized vision.
The story follows Chan as Shao Lung, a young martial artist who lives a peaceful life in a rural village. His world is turned upside down when he becomes entangled in a web of betrayal, revenge, and romance after crossing paths with a mysterious woman named Yan Meng (Hsu Feng). Yan Meng is on the run from her former lover, the ruthless swordsman Leng Tian-Xiang (James Tien), who seeks to reclaim her at any cost. As Shao Lung is drawn deeper into the conflict, he must confront his own sense of justice and loyalty while navigating a dangerous world of shifting allegiances and tragic consequences.
The plot is dense, often to a fault, with twists and turns that sometimes feel more convoluted than compelling. While the narrative strives for depth, it occasionally loses itself in its own melodrama, leaving the audience more bewildered than moved. The romantic subplot, in particular, feels underdeveloped, with the chemistry between Chan and Hsu Feng failing to ignite the emotional spark the story requires.
Chan’s performance is a mixed bag. Known for his physicality and comedic timing, he struggles to fully embody the gravitas required for such a dramatic role. His portrayal of Shao Lung is earnest but lacks the emotional nuance needed to anchor the film’s weightier moments. That said, Chan’s martial arts skills are on full display, and the fight choreography—though less polished than in his later works—offers glimpses of the kinetic energy that would define his career.
Visually, the film is a mixed bag. The sets and costumes are lavish, evoking a sense of grandeur that suits the epic tone the filmmakers are aiming for. However, the pacing is uneven, with long stretches of exposition that drag the momentum to a halt. The film’s attempts at poetic imagery—such as the misty landscapes and dramatic swordplay—are undercut by a lack of narrative focus, leaving these moments feeling more like filler than meaningful storytelling.
Where “To Kill with Intrigue” truly falters is in its tone. The film can’t seem to decide whether it wants to be a tragic drama or a martial arts spectacle, and the result is a disjointed experience that never fully commits to either. For fans of Jackie Chan, it’s a fascinating glimpse into his early career, showcasing a side of him that rarely gets explored. For casual viewers, however, the film’s flaws may outweigh its merits.
In the end, “To Kill with Intrigue” is a film that tries to do too much and ends up doing too little. It’s not without its charms, but it’s a far cry from the classics that would later define Jackie Chan’s career. For those willing to overlook its shortcomings, it’s an interesting, if flawed, piece of martial arts cinema. For everyone else, it’s a reminder that even the most ambitious films can fall short of their potential. (Neo, 2025)
Reviewed on restored 4K print.