Blowing in the Wind: The Smell of Beefcake

The magnificent trio: (from left) Cheng Lui, Lo Lieh, and Wang Yu

Lest you think I serve only cheesecake here at Soft Film, here is a tasty slice of vintage beefcake: Jimmy Wang Yu, Lo Lieh, and Cheng Lui — the first recruits in director Chang Cheh's yang gang ("macho") army of male stars. Check them out in this article from Southern Screen No. 81 (November, 1964). A scan of the original is available here.

Meet Shaws' New Male Talent

The female of the species continues to dominate Chinese cinema. As proof of this, Shaws recently had to advertise for several husky youths to act in a projected film tentatively entitled "Tiger Boy". The reason? The studio was unable to find any actors on hand able to play the starring roles. After careful screening, the following three were selected from among 1,000 applicants.

They are: Debonair Wang Yu, 20, a six-footer who has won several sprint finals in All-Hongkong swimming contests. After two screen-tests, he won a seven-year contract with Shaws and the lead role in "Tiger Boy".



Lo Lieh: This 24-year-old was given the supporting role in "Fight". A product of the Southern Drama Group, he was also awarded a seven-year contract with Shaws. He appeared in "The Butterfly Chalice" in the minor role of a general's bodyguard.



Cheng Lei: Selected to appear in "Fight" as a brave youth who protects his sister from ruffians.



Two other applicants were picked for possible future roles. They are Li Ying-tsung, a noted gymnast and Kwan Hung, a champion diver.

Tiger Boy (1966) was the first film over which Chang Cheh had total creative control. Although he was only allowed a small budget and had to shoot in black-and-white, the movie was a success and proved to Shaw Brothers that Chang's formula of graphic violence, brotherhood and honor, and muscular male stars was financially viable.

As a result, Chang was given the go ahead to make The Magnificent Trio, which was released later that year. Wang Yu, Lo Lieh, and Cheng Lui again starred together as Chang's new breed of heroes.

I've always been fascinated by the film's innovative title sequence and the way it captures a historic turning point in Hong Kong cinema. The burning flag in the opening shot loudly declares Chang's intention to shake up Shaw's female-dominated star system. Although top billing is still given to Margaret Tu Chuan, Chin Ping, and Fanny Fan, this is boldly contradicted by the image of Wang Yu, Lo Lieh, and Cheng Lui running towards the camera against an abstract blood red sky.

They may be billed as co-stars, but these three hunks are clearly the stars of the film — and indeed, harbingers of a new era in Hong Kong cinema.