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Richard James Havis

Gordon Liu Chia-hui, born Sin Kam-hei, is one of Hong Kong’s most accomplished – and most loved – martial arts stars.
Liu achieved fame as the baldheaded monk San Te in 1978’s classic The 36th Chamber of Shaolin, and amplified his success with roles in films such as the idiosyncratic Dirty Ho, the cheery Heroes of the East, and the tragedy The Eight Diagram Pole Fighter.
Liu had a stroke in 2011 and suffered partial right side paralysis. He has been recuperating in a nursing home ever since.
Here are a few things to know about the living legend that is Gordon Liu.
1 His parents did not want him to learn kung fu
Liu developed an interest in learning kung fu as a child after seeing martial arts films at the cinema with his uncle. But his parents were dead set against him studying martial arts, as they thought it would lead to him getting into fights.

When he was 10, Liu was so determined to learn kung fu that he started sneaking out in the evenings to attend the martial arts school of Lau Cham – whose martial arts heritage could be traced back to Wong Fei-hung himself – which was near the family home.
“When I was a kid, I was really naughty and would try to avoid going to school,” Liu told Kung Fu Magazine.
“Then, when I saw Lau Cham, I knew kung fu was something I had to learn, and that kung fu would be an important part of my life. So now I had an excuse to skip school to train in martial arts.”
Liu chose to study the “southern fist” style of Hung Gar, as it was hard and he wanted to challenge himself, he said.
2 He joined the family of Lau Kar-leung

Liu’s sifu (martial arts master) Lau Cham was the father of Lau Kar-leung, one of the legends of Hong Kong martial arts choreography. Gordon Liu was Lau Cham’s youngest student, and his wife doted on him and made him her godson.
3 He worked for Chang Cheh in his early years
Lau Kar-leung had made his name as a martial arts choreographer for the influential director Chang Cheh in the 1960s.
When Chang moved to Taiwan to set up an unofficial Shaw Brothers production subsidiary in 1974, Lau went with him and suggested that Liu should join them as an actor.
Lau had previously got Liu some work as an extra, as well a starring role in Breakout from Oppression in 1973, but Liu was not seriously considering an acting career. At that time, he had an office job in an accountancy firm.
“Lau wanted me to take two months off to make a film. I was only 17 or 18 years old, so I thought why not?” he told the Post. Liu ended up signing a contract with Chang.

But Lau had an acrimonious split with Chang, and moved back to Hong Kong to begin directing films for Shaw Brothers himself, leaving Liu behind in Taiwan.
Chang did not rate Liu’s acting skills highly. “It was the hardest time because I was on my own. I didn’t have many acting opportunities. I mainly fought on the set. If I had one line, I practised reading that line throughout the whole day,” Liu told the Post.
Lau asked Liu to come back to Hong Kong to appear in Shaw’s Challenge of the Masters as Wong Fei-hung, the most famous of all the exponents of southern-style Chinese martial arts, and he later ended up signing a contract with the company.
4 He became famous as a bald monk but preferred long hair
Growing up in the 1960s and 70s, Liu kept his hair long, and apparently liked it that way. He had rejected suggestions that he join the Royal Hong Kong Police because the job would entail a haircut.

“After high school, my brother-in-law was a chief police inspector and was trying to push me into doing the same thing,” he told Kung Fu Magazine. “But what stopped me? There was no way I was going to cut my long flowing hair.”
Liu agreed to shave his head to play the monk San Te in Lau’s career-making The 36th Chamber of Shaolin. The film made him famous, and audiences identified him with the character, so he decided to stay bald.
“At the time, to stay handsome, few actors shaved their heads,” he said. “I wasn’t handsome, and after I shaved my head, people thought I was special. When I was in Japan, people said I looked like Yul Brynner and I was happy about that.”
5 He is a committed martial artist
Liu has always been serious about the practice of martial arts, and he did not initially want to use his skills for entertainment in films.
He is a great believer in the spiritual context of martial arts espoused by the monks of the Shaolin Temple, and the self-reflection and self-discipline that results from their practice.

“Acting is not why I practise martial arts. Even if my kung fu movies weren’t big hits, I’d still practise it,” he told the Post. “It’s my life.”
Liu was influenced by the classic Wong Fei-hung movies starring Kwan Tak-hing as a child. Kwan’s Wong promoted humility and had a strong sense of community and justice; Wong would always seek compromise and only fight as a last resort.
“Kung fu is not about killing. There is a philosophy, and a set of ethics behind it,” Liu told the Post.
6 He enjoyed working for Quentin Tarantino
Liu appeared in two films for Quentin Tarantino, Kill Bill and Kill Bill: Volume 2. In the first he played gang leader Johnny Mo; in the second Pai Mei, the villainous Shaolin traitor who defected to the rival Wudang sect.

“Tarantino said he wanted to make an action film with the 1970s fighting style used in old Hong Kong movies. He wanted the old school, practical kung fu – no flamboyant action,” he told the Post.
In this regular feature series on the best of Hong Kong cinema, we examine the legacy of classic films, re-evaluate the careers of its greatest stars, and revisit some of the lesser-known aspects of the beloved industry.
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Who is Gordon Liu? Hong Kong martial artist played a bald monk and had two Kill Bill roles

Gordon Liu and Uma Thurman in a still from Kill Bill: Volume 2. Photo: AP

Gordon Liu in a still from The Eight Diagram Pole Fighter. Liu has had an illustrious film career that has spanned decades. Photo: Shaw Brothers

Liu in a still from The 36th Chamber of Shaolin. Photo: Shaw Brothers Studio

Lau Kar-leung (left) and Liu in a still from Challenge of the Masters (1976).

Liu (left) and Lau Kar-leung (centre) pictured in 2003. Photo: SCMP

Liu in a still from The 36th Chamber of Shaolin.

Liu (left) and Hsiao Ho in a still from Legendary Weapons of China.

Liu and Uma Thurman in a still from Kill Bill: Volume 2. Photo: AP

In Detective Dee and the Mystery of the Phantom Flame, Tsui Hark mixes martial arts and Sherlock Holmes-style sleuthing

Andy Lau as Di Renjie in a still from Detective Dee and the Mystery of the Phantom Flame.

Andy Lau as Di Renjie in a still from Detective Dee and the Mystery of the Phantom Flame. Tsui Hark’s 2010 fantasy wuxia film was a box-office hit and spawned two sequels.

(From left) Director Tsui Hark, Andy Lau and Li Bingbing on the set of Detective Dee and the Mystery of the Phantom Flame.

Tsui Hark at an interview with the Post in 2010. Photo: SCMP

Carina Lau as Wu Zetian in a still from Detective Dee and the Mystery of the Phantom Flame.

Sammo Hung on the set of Detective Dee and the Mystery of the Phantom Flame.

Changing culture in Hong Kong around 1997 handover captured in Fruit Chan’s films The Longest Summer and Little Cheung

Mak Wai-fan (top) as Ah Fan and Yiu Yuet-ming as as Little Cheung in a still from Fruit Chan’s Little Cheung.

A still from Little Cheung. Fruit Chan Gor’s Made in Hong Kong, The Longest Summer and Little Cheung present a complete picture of Hong Kong working-class life at the time of the territory’s handover from British to Chinese rule in 1997.

Tony Ho (left) as Ga-yin and Sam Lee (right) as Ga-suen in a still from The Longest Summer.

Jo Kuk as Jane in a still from The Longest Summer.

Fruit Chan, director of The Longest Summer and Little Cheung, pictured in 1999. Photo: SCMP

Yiu Yuet-ming (left) as Little Cheung and Mak Wai-fan as Ah Fan in a still from Little Cheung.

Maggie Q, Andy Lau and Sammo Hung help bring alive 2 war epics Hong Kong directors filmed in China

Andy Lau in a still from Hong Kong-China co-production Three Kingdoms: Resurrection of the Dragon. The 2008 war epic directed by Daniel Lee co-starred Maggie Q, with a cameo from Sammo Hung, and is a retelling of a story from the classic Chinese novel Romance of the Three Kingdoms.  

Sammo Hung (left) as Luo Ping-an and Andy Lau as General Zhao Zilong in a still from Three Kingdoms: Resurrection of the Dragon.

Daniel Lee at an interview with the Post in 2009. Photo: May Tse

Maggie Q in a still from Three Kingdoms: Resurrection of the Dragon.

Sammo Hung (front) as a failed general and Vincent Zhao as general Qi Jiguang in a still from God of War.

Gordon Chan, pictured in 2014. Photo: Edward Wong

Yasuaki Kurata as a Japanese samurai leading the pirates in God of War.

How Infernal Affairs II and III tried to emulate the success of the original with Andy Lau and Tony Leung, but couldn’t

Kelly Chen Wai-lam (left) and Tony Leung Chiu-wai in a still from Infernal Affairs III. Photo: Media Asia Films

Andy Lau Tak-wah (front) and Leon Lai Ming in a still from Infernal Affairs III. This and Infernal Affairs II never lived up the original starring Lau and Tony Leung Chiu-wai, in part because the 2002 film didn’t leave much room for follow-ups. Photo: Media Asia Films

(From left) Andy Lau, Tony Leung Chiu-wai, Kelly Chen, Leon Lai Ming and Chapman To Man-chat publicise the launch of Infernal Affairs III in Beijing in 2003. Photo: SCMP

Alan Mak Siu-fai (left) and Andrew Lau Wai-keung on the set of Infernal Affairs III.

Francis Ng (front) in a still from Infernal Affairs II.

Kelly Chen and Tony Leung in a still from Infernal Affairs III. Photo: Media Asia Films

Andy Lau (front) in a still from Infernal Affairs III.

He was jealous of Bruce Lee, and wanted to ape James Bond: in The Man from Hong Kong, Jimmy Wang Yu got his chance

Jimmy Wang Yu and Rebecca Gilling in a still from The Man from Hong Kong (1975).

Jimmy Wang Yu in a still from The Man from Hong Kong (1975). In the film, Wang thought he had found something that would propel him to Bruce Lee-level international fame. It did not. Photo: Hong Kong Film Archive

A promotional poster for The Man from Hong Kong.

Rebecca Gilling and Wang in a still from The Man from Hong Kong.

Wang (left) and George Lazenby in a still from The Man from Hong Kong.

A still from The Man from Hong Kong.

Wang and Gilling in a still from The Man from Hong Kong.

Lifestyle

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Classic Hong Kong cinema

Classic Hong Kong cinema: John Woo on action, violence, influences, growing up in poverty and working in Hollywood in 1997 interview

Legendary Hong Kong action film director John Woo in 1990. Photo: SCMP

Famous Hong Kong action film director John Woo talks about his life and work in a 1997 interview. Photo: SCMP

John Travolta (top) and Nicolas Cage in a still from Face/Off.

John Woo during an interview in 1996. Photo: SCMP

Tony Leung (left) and Chow Yun-fat in a still from Hard Boiled (1991), directed by Woo.

Woo (left) shakes hands with actor Tom Cruise at a photo call in Tsim Sha Tsui in 2000.

Danny Lee (left) and Chow Yun-fat in a still from The Killer, a 1989 film directed by John Woo.

Woo in his office in 1993. Photo: SCMP

Woo on the set of Red Cliff, with actor Takeshi Kaneshiro.

How Ringo Lam crime thriller Full Alert mixed realistic action on Hong Kong streets with premonition of 1997 handover

Lau Ching-wan in a still from Full Alert.

Lau Ching-wan hunting down an escaped robber in the mean streets (Bird Street) of Mong Kok in Ringo Lam’s 1997 movie Full Alert.

Ringo Lam, pictured in 1995. Photo: SCMP

Lau Ching-wan (left) and Francis Ng in a still from Full Alert.

Amanda Lee (front) in a still from Full Alert. Photo: Eureka Entertainment

Francis Ng in a still from Full Alert.

Ringo Lam in an interview with the Post in 1997. Photo: SCMP

Hong Kong’s first art-house film, Cecille Tong Shu-shuen’s The Arch, starring Crazy Rich Asians’ Lisa Lu Yan, was ahead of its time

Lisa Lu in a still from Cecille Tong Shu-shuen’s The Arch (1970), considered to be Hong Kong’s first art-house film.

Cecille Tong and members of her staff at Joss, the Chinese restaurant she runs on Sunset Boulevard, Los Angeles.

Lisa Lu, who starred in The Arch and The Empress Dowager, poses with her daughter Lucia Hwong in 1978. Photo: SCMP

Lisa Lu in a still from The Arch.

Promotional stills for Sup Sap Bup Dup (1975), directed by Tong.

A scene from the 1974 film China Behind, directed by Tong.

How Bruce Lee’s Way of the Dragon made Chuck Norris a star with their fight in Rome’s Colosseum, and what the film showed about Lee’s directing

Bruce Lee in a still from The Way of the Dragon (1972). Photo: Criterion Collection

Bruce Lee in a still from The Way of the Dragon (1972), which he starred in and directed. Photo: Criterion Collection

Bruce Lee as Ah Lung (front) and Nora Miao as Chen Ching Hua in a still from The Way of the Dragon. Photo: Golden Harvest

Chuck Norris and Bruce Lee in a still from The Way of the Dragon. Photo: LCSD

Bruce Lee and Chuck Norris in a still from The Way of the Dragon. Photo: Criterion Collection

Maggie Cheung in her own words, on Wong Kar-wai and In the Mood for Love, marrying Olivier Assayas and being an actress, not just a film star

Interview with award-winning actress Maggie Cheung Man-yuk at Grand Hyatt Hotel.

Maggie Cheung at an interview with the Post in 2001. Photo: SCMP.

Maggie Cheung (left) and Cherie Chung in a still from Prince Charming (1984).

Maggie Cheung (left) and Andy Lau in a still from As Tears Go By (1988).

Maggie Cheung in a still from the 1996 film Irma Vep.

Maggie Cheung (left) and Tony Leung in a still from In the Mood for Love (2000).

Peter Chan’s early films, featuring the two Tony Leungs and Maggie Cheung, were a breath of fresh air in Hong Kong

Anita Yuen (left) and Leslie Cheung in a still from He’s a Woman, She’s a Man (1994).

A promotional image of He Ain’t Heavy, He’s My Father (1993), starring Tony Leung Chiu-wai (first from right) and Tony Leung Ka-fai (second from right). Peter Chan Ho-sun’s early films “have an international, almost placeless feel” despite their local issues and references.

Film director Peter Chan Ho-sun in 1995. Photo: SCMP

Eric Tsang (left) and Leslie Cheung in a still from He’s a Woman, She’s a Man, the 1994 film directed by Peter Chan.

Fallen Angels: Wong Kar-wai on casting Leon Lai, Michele Reis, Charlie Yeung and Karen Mok against type in 1995 film

Michele Reis and Takeshi Kaneshiro in a still from Wong Kar-wai’s Fallen Angels. Photo: Block 2 Pictures and Jet Tone Contents

Leon Lai in a still from Wong Kar-wai’s Fallen Angels, the 1995 film that was almost part of Chungking Express.

Wong Kar-wai in front of a promotional poster for Fallen Angels in 1995. Photo: SCMP

Takeshi Kaneshiro in a still from Fallen Angels.

Leon Lai (left) and Michele Reis in a still from Fallen Angels.

Michele Reis in a still from Fallen Angels.

(Clockwise from top left) Charlie Yeung, Michele Reis, Leon Lai and Takeshi Kaneshiro in a still from Fallen Angels.

Leon Lai plays a hitman in a still from Fallen Angels.

How Running Out of Time, starring Andy Lau and Lau Ching-wan, helped shape the ‘Johnnie To Cinematic Universe’

Andy Lau in a still from Johnnie To’s Running Out of Time (1999).

Andy Lau, pictured with Helena Law at the 19th Hong Kong Film Awards in 2000, where he was named best actor for his role in Running Out of Time. Photo: SCMP

A still from The Mission (1999).

Lau Ching-wan (left) and Andy Lau in a still from Running Out of Time (1999).

Johnnie To in his Kwun Tong office in 1999. Photo: SCMP

Ekin Cheng in a still from Running Out of Time 2.

Likened to Hollywood hit Love Story, this film beat Jackie Chan, Jet Li at the Hong Kong box office in 1993

Anita Yuen (left) and Lau Ching-wan in a still from C’est La Vie, Mon Cheri.

Anita Yuen (left) and Lau Ching-wan in a still from C’est la Vie, Mon Cheri. It beat films starring Jackie Chan and Jet Li to become a box-office hit in 1993. Photo: courtesy of LCSD 

Film director Derek Yee Tung-sing giving a thank-you speech after being awarded the best director prize at the 13th Hong Kong Film Awards for his film, “C’est La Vie, Mon Cheri”. Photo: SCMP

Lau Ching-wan (left) and Anita Yuen in a still from C’est La Vie, Mon Cheri.

Winners at the 13th Hong Kong Film Awards pose for a group picture. From left in the first row are best supporting actor Paul Chun Pui, best actor Anthony Wong Chau-sang, best actress Anita Yuen Wing-yee, best supporting actress Fung Bo-bo and best director Derek Yee Tung-shing. With the exception of Wong, all the others worked on C’est La Vie, Mon Cheri. Photo: SCMP

Brigitte Lin’s first gender-neutral role, Sally Yeh’s butch Beijing Opera performer make Tsui Hark’s 1986 period comedy Peking Opera Blues highly enjoyable

Peking Opera Blues starring Brigitte Lin remains an enjoyable tale of espionage, Chinese opera and gender bending. Mark Cheng (left) and Brigitte Lin in a still from Peking Opera Blues. Photo: Peking Opera Blues

Playwright Raymond To Kwok-wai, pictured in 1994, was the screenwriter behind both Shanghai Blues and Peking Opera Blues. Photo: SCMP

Sally Yeh (left) in a still from Shanghai Blues, which was released two years before Peking Opera Blues. Photo: Hong Kong Film Archive

(From left) Brigitte Lin, Cherie Chung and Sally Yeh in a still from Peking Opera Blues. Photo: Peking Opera Blues

Tsui Hark, posing beside the poster for another of his movies, A Better Tomorrow III, in 1989. Photo: SCMP

Brigitte Lin (right) in a still from Peking Opera Blues. Photo: Peking Opera Blues

A change from Jackie Chan and Jet Li – Beast Cops’ Gordon Chan on how directing the Hong Kong gangs vs police film was not like his previous work

A still from Beast Cops. Photo: Handout

(From left) Sam Lee, Anthony Wong and Michael Wong in a still from Beast Cops, a Mong Kok-set gangs vs police action drama directed by Gordon Chan.

Best actress Sandra Ng Kwan-yu (left) and best actor Anthony Wong Chau-sang with their awards at the 18th annual Hong Kong Film Awards in 1999. Ng starred in Portland Street Blues and Wong in Beast Cops. Photo: SCMP

Jet Li in a still from Fist of Legend, the 1994 film directed by Gordon Chan.

Michael Wong (front) in a still from Beast Cops.

Directors Gordon Chan (left) and Dante Lam, pictured in 2006. Photo: SCMP

(From left) Anthony Wong, Kathy Chow and Michael Wong in a still from Beast Cops.

Anthony Wong in a still from Beast Cops.

Romance meets ghost story in Hong Kong movie masterpiece Rouge, starring Anita Mui and Leslie Cheung and directed by Stanley Kwan

Anita Mui and Leslie Cheung in a still from Rouge.

Leslie Cheung and Anita in a still from Rouge (1988), directed by Stanley Kwan, in which she plays a 1930s courtesan who returns 50 years later as a ghost seeking her lover, played by Cheung.

Anita Mui (centre) alongside Alex Man (left) and Elaine Chu in a still from Rouge.

Stanley Kwan in an interview with the Post in 1988. Photo: SCMP.

Anita Mui and Leslie Cheung in Rouge.

Made in Hong Kong, Fruit Chan’s take on grim reality of 1997 for many in the city, and how the groundbreaking independent film was conceived

Sam Lee in a still from Made in Hong Kong. Photo: Focus Films Limited

Sam Lee in a still from Made in Hong Kong, Fruit Chan’s 1997 film about the grim reality of life for many people in Hong Kong. Photo: Golden Scene

(From left) Wenders Li, Sam Lee and Neiky Yim in a still from Made in Hong Kong.

Fruit Chan (centre), winner of Best Director and Best Picture at the 3rd Golden Bauhinia Awards Ceremony, alongside actors Neiky Yim (left) and Sam Lee, in 1998. Photo: SCMP

Sam Lee and Neiky Yim in a still from Made in Hong Kong. Photo: Golden Scene

Sam Lee and Neiky Yim in Made in Hong Kong. Photo: Nicetop Independent

Why Boat People, starring Andy Lau and George Lam, Ann Hui’s hit film about post-war Vietnam, displeased the Chinese and French authorities

Andy Lau as To Minh in a still from Boat People (1982). Ann Hui intended the film to tell a human story that explained why refugees were fleeing Vietnam. Hong Kong film-goers saw it as an allegory of the city’s future under Chinese rule. Photo: Bluebird Film Company

George Lam (left) and Season Ma in a still from Boat People. Photo: Bluebird Film Company

Ann Hui won the Golden Lion for Lifetime Achievement at the 77th Venice Film Festival in 2020. Photo: Reuters

A still from Boat People showing Vietnamese military personnel in the streets.

Andy Lau as To Minh (left) and George Lam as Akutagawa in a still from Boat People.

Andy Lau as To Minh in a still from Boat People.

What they said about In the Mood For Love: director Wong Kar-wai and stars Tony Leung and Maggie Cheung on filming the romantic drama

Maggie Cheung in a still from In The Mood For Love. Photo: Jet Tone Films

Maggie Cheung Man-yuk and Tony Leung Chiu-wai in a still from In the Mood for Love, directed by Wong Kar-wai. Photo: Jet Tone Films

Tony Leung (left), Maggie Cheung and director Wong Kar-wai during the promotion for In the Mood For Love in Cannes, in 2000. Photo: AFP/Jack Guez

Maggie Cheung in a still from In the Mood For Love. Photo: Jet Tone Films

Tony Leung in a still from In The Mood For Love. Photo: Jet Tone Films

Tony Leung (left) and Zhang Ziyi in a still from 2046. Photo: Block 2 Pictures and Jet Tone Contents

Maggie Cheung and Tony Leung in a still from In the Mood For Love. Photo: Jet Tone Films

Jackie Chan focused on ‘real kung fu’ in Drunken Master II in reaction to shoddy ‘wire fu’ martial arts films of the early 90s

Jackie Chan in a still from Drunken Master II (1994). The movie focused heavily on real kung fu by real martial artists, as an antidote to the slew of shoddy ‘wire fu’ movies in the early 1990s.

Jackie Chan at an interview with the Post in 1994. Photo: SCMP

Jackie Chan in a still from Drunken Master (1978). Photo: Golden Harvest

Jackie Chan (left) on the set of Drunken Master II.

Jackie Chan (right) and Felix Wong in a still from Drunken Master II (1994).

Stephen Chow’s Shaolin Soccer and Kung Fu Hustle were not the films that made the Hong Kong comedian famous – so which ones did?

Stephen Chow as Trinket in a still from the film Royal Tramp.

Stephen Chow (left) and Ng Man-tat in a still from Royal Tramp. Critics called Chow 
 “the finest Hong Kong comedian of his generation” and “Hong Kong’s hottest actor” of the 1990s.

Stephen Chow at an interview with the Post in 1989. Photo: SCMP

Stephen Chow at a film shoot in 1989. Photo: SCMP

Ng Man-tat (left) and Stephen Chow in a still from All for the Winner.

Stephen Chow (left) and Anita Yuen in a still from From Beijing with Love.

Gong Li (left) and Stephen Chow pose for photographers to promote The Flirting Scholar in 1993. Photo: SCMP

Stephen Chow in a still from Shaolin Soccer.

‘I am not Jackie Chan or Chow Yun-fat’: Hong Kong actor Lau Ching-wan on why Hollywood doesn’t need him, bad guy roles, and The Godfather

ProfileWho is Gordon Liu? Hong Kong martial artist played a bald monk and had two Kill Bill roles

Gordon Liu, who learned kung fu behind his parents’ backs as a child, has had an illustrious career – which took off once he shaved his head

.css-1mniedq{color:inherit;font-weight:inherit;font-size:inherit;font-family:inherit;line-height:inherit;}Gordon Liu, who learned kung fu behind his parents’ backs as a child, has had an illustrious career – which took off once he shaved his head

Gordon Liu, who learned kung fu behind his parents’ backs as a child, has had an illustrious career – which took off once he shaved his head