88 Films: The Invincible Eight (1971) - Reviewed

Images courtesy of 88 Films

Lo Wei originally started out as a working director for the ShawScope empire including such genre classics as Angel with the Iron Fists before jumping ship and migrating over to Golden Harvest where he’d eventually catch up with Bruce Lee on The Big Boss and Fist of Fury.  His last ShawScope appeared in 1970 with Brothers Five before finally making the transition over to the rival competitor company with 1971’s The Invincible Eight.  

Effectively the third official studio release from Golden Harvest and coming on the heels of the company’s debut film The Angry River, The Invincible Eight is an ensemble action thriller spoken of the same breath as Seven Samurai or The Thirteen Assassins concerning a ragtag group of rogue fighters who band together against a common enemy.  Boasting choreography by future acting-directing martial arts legend Sammo Hung and co-starring Angela Mao from The Angry River, this Dyaliscope widescreen effort written and directed by Lo Wei represents Golden Harvest still in the throes of figuring things out while ascending uncharted martial arts action heights across the 2.35:1 scope panorama.

 
Eight warriors comprised of five men and three women from disparate families find kinship over mutual hatred of a military general who murdered the father figures from each of their groups.  Among the riders are Nora Miao, Tang Ching, Angela Mao from the Golden Harvest debut film The Angry River as well as James Tien.  Forming a pact, they’ll stop at nothing to take on the General Xiao who unfortunately is also a formidable adversary armed to the teeth with a group of bodyguards donning sharp cracking whips who give our heroes a run for their money in more than a few hand-to-hand combat fights.  Among the whipping boys is Sammo Hung who in early Golden Harvest pictures tended to play bit parts or supporting roles as a villain before becoming a box-office draw himself.  The stage is set for a huge spectacular battle with many characters engaged in warfare at the same time as the Imperial Army threatens to torpedo their cause.

 
Full of arresting widescreen visuals by Lam Kwok-Cheung, original music by Wang Fu-Ling and martial arts choreography by both Sammo Hung and Hang Ying-Chieh, The Invincible Eight while not as wild or memorably for me as The Angry River nevertheless is an important follow-up release proving to ShawScope they were a force to be reckoned with.  While the story of the band of outsiders coming together to take on an army singlehandedly isn’t exactly new, Lo Wei was inarguably a grandmaster of the subgenre with his work appearing across many Arrow and Eureka Entertainment releases and his craft compounded with the martial arts choreography helps it to stand apart from the pack.  While Eureka Entertainment released the film on Blu-ray in the United Kingdom, 88 Films handled the North American release rights to The Invincible Eight with their own subset of extras including reversible sleeve art, a limited slipcover and commentary by Frank Djeng and Michael Worth.  Both releases are restored in 2K from the original camera negative in 2.35:1 scope widescreen and they look splendid.

 
Early in the company’s tenure predating their work with Bruce Lee and Jackie Chan, The Invincible Eight is a colorful and stylish wuxia vengeance fable built around the ensemble cast of characters with their own forms of fighting.  Golden Harvest would have a long way to go before debatably usurping their arch enemy ShawScope but the resulting films are absolutely distinguishable from Shaw Brothers in terms of the look, feel and outdoors-set fighting sequences compared to everything being on a soundstage.  The revival of the Golden Harvest logo clearly designed to look like a riff on the Shaw Brothers logo before finding their own box logo years later is a welcome addition to the slipcover design by 88 Films and further educates fans on just how far the initial competition between these two Hong Kong kung fu wuxia industry giants were.

--Andrew Kotwicki