|Slaughter in Xian (1989)|
|Starring:||Tung Chi Hwa, Cecelia Wong, Hsu Shao Jien, Tu Yu Ming and Chow Lung.|
|The Plot: Mr. Kuk is the evil triad leader who rules over Sian during the early twentieth century. Vice Captain Ho (Tung Chi Hwa), on the other hand, is one of the few honest citizens still left around who doesn’t work for Kuk. When family is murdered on the side of the road in Sian, Ho is quickly dispatched to the case. He discovers that a large number of machine guns have made their way into his small city, and it seems that this crime scene was connected to it. Looking for answers, Ho turns to his good friend Fu who works with a traveling opera who have just made it into town. Fu used to be a thief, and he may have a lead on what kind of person would commit such a heinous murder/robbery. Fu agrees to go undercover and start investigating Mr. Kuk, even though it may be dangerous. When Ho discovers that one of the victims is missing her bracelets, he traces one of them down to a pickpocket who ripped them off from one of Kuk’s men. This may be enough evidence to warrant his investigation, but he quickly finds out that certain members of the police force would rather have this entire investigation swept under the rug. Ho must now deal with those who want to see him dead, and the police force who may want the same thing.|
Well known for both his slightly homoerotic displays of male comraidery as well as his penchant for gore, Chang Cheh takes these concepts into outer space here in his twilight years. The relationship between the characters Ho and Fu, in particular, proves to be very odd. Appearances can be deceiving, but when you see two men embracing and rolling around on the floor together in slow motion… certain ideas begin to transform. Such is the case with Fu and Ho, who have a brief near-love affair during the first third of the picture. It certainly doesn’t help Ho’s case when he is confronted by a beautiful woman near the back end of the film, and he flatly denies her advances. Finally, even the violence enters into the realm of the homoerotic, as we watch a very important character within the picture come to his death by being forced to sit on a long pipe. Quite literally, he is raped to death, in what may be one of the most grotesque deaths in all of Chang Cheh’s filmography. Throughout most of the picture the violence remains fairly consistent, and only showcases a little blood here and there, as opposed to the geysers that erupt during the death rape.