Violence in Film: 10 Outstanding Hong Kong Movies from the 1980s

      Casey Chong reflects on ten remarkable Hong Kong films from the 1980s…

      Violence often serves as a defining element in Hong Kong cinema. The strong emphasis on practical effects and the use of blood squibs during gunfights and stunts contributed to the films’ intense action sequences, resulting in a strikingly visceral atmosphere. Here, we revisit ten notable – and violent – Hong Kong films from the 1980s…

      Long Arm of the Law (1984)

      Long before Soi Cheang’s Twilight of the Warriors: Walled In achieved major critical and commercial success with its engaging fusion of martial arts, triads, and nostalgic nods to the lawless Kowloon Walled City, director Johnny Mak captured attention with Long Arm of the Law. This 1984 crime drama, reflecting its era, depicts the lives of mainland criminals, and even by today’s standards, its graphic violence and exploration of the morally ambiguous divide between criminals led by Lam Wai and the Hong Kong police remain impactful. This tension is especially evident in the climactic third act set within the crowded, labyrinthine Kowloon Walled City, where police block all exits, trapping the criminals like rats. The film leaves audiences with a sense of impending doom as both sides pursue their objectives ruthlessly. Long Arm of the Law's success led to two thematically related sequels.

      School on Fire (1988)

      School on Fire did not achieve the popularity of Ringo Lam's On Fire series: Prison on Fire and City on Fire, and it premiered to minimal buzz, resulting in a box-office disappointment after a brief week-long run in theaters. However, Lam’s gritty direction forcefully critiques the pervasive influence of triads within the Hong Kong education system, portraying parents, teachers, and police as powerless against the iron-fisted trident of organized crime. Lam draws strong performances from his cast, including Roy Cheung as the nefarious triad leader and Damian Lau as a concerned educator, marking a significant shift for Lau, whose previous work primarily involved martial arts films (e.g., 1979’s Last Hurrah for Chivalry and 1983’s Zu: Warriors from the Magic Mountain). Lam does not shy away from explicit violence and brutal realism, culminating in a chaotic finale.

      Dangerous Encounters of the First Kind (1980)

      In the early days of Tsui Hark’s career, particularly prior to his mainstream success following 1981’s All the Wrong Clues, his first three films – The Butterfly Murders, We’re Going to Eat You, and Dangerous Encounters of the First Kind – were primarily experimental, blending genres. This third installment sees Tsui, who co-wrote the script with Szeto Cheuk-Hon, delve into the darker aspects of teenage angst (featuring a memorable performance by Taiwanese actress Lin Chen-Chi, who would retire shortly after) and social alienation, layered with xenophobic undertones. This is pointedly illustrated through the inclusion of foreign antagonists, serving as Tsui’s critique of foreign exploitation of local residents during that time, exemplified in a scene referencing the 1967 Hong Kong riots involving a homemade bomb.

      The Lunatics (1986)

      For Derek Yee, known for nearly a decade of predominantly martial arts roles, directing a social drama like The Lunatics seems an unexpected choice. Tackling the serious subject of mental illness, Yee effectively navigates the theme without resorting to melodrama despite being a first-time director. His practical approach is bolstered by a touch of humor, notably in the opening scene where Stanley Fung's social worker Tsui tries to calm Tony Leung Chiu-Wai’s mentally unstable character using a Jackie Chan puppet. The film is mostly episodic until the narrative pivots to Paul Chun’s award-winning role as Tsuen, a former mental health patient experiencing a crisis, leading to a grim climax where he assaults individuals with a meat cleaver and takes a teacher and kindergarten children hostage.

      Her Vengeance (1988)

      Lam Nai-Choi is no stranger to diverse genres, having directed various works from the 1983 crime drama Men from the Gutter to the outrageous manga-like Riki-Oh: The Story of Ricky and the bizarre sci-fi The Cat (both released in 1992). Her Vengeance stands out as a dark rape-revenge thriller featuring Pauline Wong as a woman brutally assaulted by a group of inebriated attackers (one played by Billy Chow, known for his roles as martial arts villains in Mr. Canton and Lady Rose and Fist of Legend). Lam swiftly engages with the disturbing subject matter, particularly during the starkly filmed nighttime assault. Inspired partly by I Spit on Your Grave, the film culminates in a visceral finale reminiscent of Straw Dogs as Wong’s character, with the assistance of a former triad in a wheelchair (Lam Ching-Ying), cleverly traps the rapists in a nightclub rigged with bo