The Delightful Forest is a Shaw Brothers wuxia film that probably won’t win over anyone new to such things. It’s one of several movies the studio made based on the epic Chinese story The Water Margin, a tale easily long enough to support all of these. While the first, The Water Margin (also directed by Chang Cheh and Hsueh Li Pao in 1972) involved a huge cast of characters, TDF focuses on just one of them, acting as a prequel.
Wu Sung (Ti Lung) is renowned for killing a tiger with his bare hands. When he also kills his sister-in-law and her lover, to revenge his brother’s death, he is imprisoned. He is aided by the prison owner’s son, Shi En (Tien Ching), in return for ridding the town known as The Delightful Forest of the brutish Chiang Chung (Chu Mu). Getting rid of Chung isn’t so easy when he has a corrupt official on his side.
While The Water Margin is a film long enough to do its plot justice, TDF feels stretched out, moving slowly, with little sense of tension. Moreover, Song is not a complex character, and his superhuman feats are often rather silly. For most of the film, there’s no doubt he’s going to win every battle.
TDF’s strongest aspect is Lung himself. One of Shaw’s best martial arts stars, he’s pure class, strong both at acting and in action. He wrings everything he can out of the role.
This film is curious for a couple of other reasons. The soundtrack is taken straight from Morricone’s spaghetti western scores. That’s not uncommon for Chinese films of this era, but the tracks are used badly here. Meanwhile, it’s a laugh seeing Ching in this role – he tends to play sneaky characters (including in The Water Margin!) and it’s quite a change for him to have some moral fibre here.
Although most of the fights in TDF are not inspired, and there’s a couple of jarring edits, the last battle is excellent in its own right. It takes place in a wealthy household, with Song fighting Chung, two beaurecrats and a host of guards. Chang Cheh films often show their heroes fighting their way through hundreds of extras, but this is more believable in such close quarters. The fight unfolds with elegance and brutality. It’s a shame that the story has been so thin, without developing any emotional investment.
Song could quite plausibly not walk away from this fight. However, the film ends with him donning the monk’s disguise that the character wears in The Water Margin and its sequel, All Men Are Brothers. And so, TDF fails as a standalone film, ensuring that completionists are its best audience.