| Chia Hui Liu | ... | Hong Wen-Ting | |
| Lieh Lo | ... | Priest White Lotus | |
| Lung Wei Wang | ... | Governor Kau Tin-Chung | |
| Kara Hui | ... | Mei-Hsiao (as Ying Hung Wai) | |
| Hou Hsiao | ... | Personal Swordsman of White Lotus | |
| Ching-Ching Yeung | ... | Ching-Ching (as Ching Ching Yeung) | |
| rest of cast listed alphabetically: | |||
| Miao Ching | |||
| Chi Cheng Ho | |||
| Pa-Ching Huang | |||
| Fa Yuan Li | |||
| Hui Huang Lin | |||
| Ke Ming Lin | |||
| Yun-hsiang Peng | |||
| Hsien Sheng | |||
| Shan Tai | |||
| Wilson Tong | (as Tang Wei-shing) | ||
| Chieh Kuang Wu | |||
| Hsi-guan Yang | |||
| Hua Yang | |||
| King Chu Lee | ... | Wu Ah-biu (uncredited) | |
| Wing Leung To | ... | Bald monk in yellow (uncredited) | |
Directed by | |||
| Lieh Lo | |||
Writing credits(in alphabetical order) | ||
| Tien Huang | screenplay | |
Produced by | |||
| Mona Fong | .... | producer | |
| Chia-Hsi Huang | .... | executive producer | |
| Run Run Shaw | .... | producer | |
Original Music by | |||
| Eddie Wang | |||
Cinematography by | |||
| Chih Chun Ao | |||
Film Editing by | |||
| Hsing-lung Chiang | |||
| Yen Hai Li | |||
Art Direction by | |||
| Johnson Tsao | |||
Costume Design by | |||
| Chi-Yu Liu | |||
Makeup Department | |||
| Yen-Lien Peng | .... | hair stylist | |
| Hsu-Ching Wu | .... | makeup artist | |
Second Unit Director or Assistant Director | |||
| Pa-Ching Huang | .... | assistant director | |
| Tai-Heng Li | .... | assistant director | |
Art Department | |||
| Kuo-hsing Huang | .... | props | |
| Yu Lai | .... | props | |
Sound Department | |||
| Ping Kuang Hsu | .... | sound recordist | |
Stunts | |||
| Hou Hsiao | .... | assistant stunt coordinator | |
| King Chu Lee | .... | assistant stunt coordinator (as King Chu) | |
| Hsin Shen | .... | assistant stunt coordinator | |
Camera and Electrical Department | |||
| Fen Chen | .... | lighting technician | |
| Ting Bong Yuen | .... | lighting technician | |
Other crew | |||
| Chen-yung Chou | .... | script supervisor | |
| Chia-Liang Liu | .... | fight instructor | |
| Chia-Liang Liu | .... | planner | |
| Chih Hsien Wang | .... | production assistant | |
| Recent Posts (updated daily) | User |
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| Priest White Lotus is... | reaper-man |
| Int'l DVD? | jens.humke-2 |
| Pat Mei? | net_handa_wompa1 |
| Some actor clarifications | EyeDunno |
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| Shao Lin san shi liu fang | Shao Lin da peng da shi | Tai ji: Zhang San Feng | Wu Lang ba gua gun | Game of Death |
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| Full cast and crew | Company credits | External reviews |
| IMDb Action section | IMDb Hong Kong section | Add this title to MyMovies |
This movie is, bar none, the most fantastic kung-fu film ever made, all centered around the main performers, particularly Gordon Liu and Kara Hui, and specifically the star-director, Lo Lieh. Lieh is probably the grandmaster of kung-fu films, and his ability to take even the most mundane sneering thug character and give it life is a credit to his acting. Lieh plays Priest White Lotus here, a white-haired super-villain whose fighting technique consists of essentially becoming as untouchable as a ghost. Priest White Lotus cannot even be touched, much less struck, and the displays of power combined with his eerie abilities make him visually stunning.
But it's more than simple physicality. Lo Lieh gives this supernatural force so much humor, vitality, and humanity, that Priest White Lotus is elevated into one of the great onscreen villains ever, in any genre of film. The scene where Priest White Lotus fights the vengeful hero Liu, who has attacked Lieh during his bath, forcing the Priest to block vicious blows while naked and pulling on his houseclothes, is simply one of the unbelievable joys of watching this movie. You'll laugh, not because the scene is played for laughs, but because the scene is GREAT, and the two actors are dead-on incredible, and you can't believe what you're seeing.
And the final conflict between Liu and Lieh cannot be described. There is a frightening majesty to Lieh's Priest, and Liu's hero the perfect culmination of the kung-fu revenge-hero, that the viewer is inawed by them. They become god-like in their techniques, and yet more human as their familiarity through repeated battles reveals just how much alike the two men have become. The two, evil and good, are seperated not by their skill or philosophy, but by the need for one to nullify the other. They have become so close that it is impossible for them both to exist.
FISTS OF THE WHITE LOTUS is a great film, and unforgettable.