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Richard James Havis

Hong Kong filmmaker Ronny Yu Yan-tai’s little-seen The Postman Fights Back (1982) is a highly unusual martial arts film that plays more like an American Western than a traditional wuxia.
It features Leung Kar-yan as a courier in Republican China tasked with delivering a mysterious cargo to a violent mountain bandit, whose motley crew of associates includes a young Chow Yun-fat.
Here we discuss The Postman Fights Back with film historian Frank Djeng, who provided the commentary with Yu for the 88 Films Blu-ray release.


The Postman Fights Back is very different to most of the martial arts films of the early 1980s.
Yes, it is. It’s more of an “Eastern Western”. Usually, when Hong Kong filmmakers make martial arts films that are influenced by Westerns, they just put some elements from the genre inside what they usually do. But here, Yu goes a bit deeper – it’s as if he is actually making a proper Western.
The courier, the main character, is like a Pony Express rider, so the Western idea is there right from the start. There’s also the theme of new technology coming in and changing the way of life. The courier in Postman Fights Back is going to lose his job as the new railway is coming. Showing the effect of the railroads on frontier life was common in American Westerns.
There is a mining scene, and Fan Mei-sheng’s character uses dynamite as a weapon, which is something you don’t see in a typical wuxia.
Yes, all the dynamite throwing is again very Western. The audience was expecting it to be all kung fu fights, and instead they got scenes of a guy tossing dynamite around.

You also have the character who throws knives like James Coburn in The Magnificent Seven, and you can immediately tell Eddie Ko [Hung] is a villain from the way he smokes his cigarette – he reminds one of Lee Van Cleef in a spaghetti Western.
All this did not go down that well with local audiences at the time. The film has a historical backdrop – it’s set in 1913, two years after the fall of the Qing dynasty – and viewers felt that these elements were not a part of Chinese history.
The film was shot in Korea, which gives it a special look.
It’s set in North China, so the story needs some snow – that’s why Yu decided to make it in Korea.
At that time, if you wanted snow in Asia, you had to go to Korea or Japan, as you couldn’t go to China. It was cheaper to shoot in Korea than Japan, and easier to replicate the look of early 20th-century China there. But it was a grim shoot, as it was very cold.

The mass combat scene with ice skaters would have been impossible to film in Hong Kong.
The fight on the frozen lake is a classic action scene. It’s kind of an ice-skating fight, or even an ice hockey fight. That was shot in frigid weather – it was minus 27 degrees Celsius (minus 16.6 Fahrenheit) when they shot those scenes! It was actually shot way up near the border of North and South Korea. It was cold!
When I recorded the commentary for the 88 Films release, Yu said he still feels this was the most difficult of his films to shoot.
That action scene was choreographed by Yuen Shun-yi and Brandy Yuen Jan-yeung, from Yuen Woo-ping’s famed ‘Yuen Clan’.
Yes, and Yuen’s Peace Films co-produced it. Their fight scenes are quite inventive. When Eddie Ko’s ninja fights Chow Yun-fat, Chow uses his scarf as a weapon – I think that to this day, that’s still the only fight in Hong Kong cinema where a scarf is involved!
Chow is not a trained martial artist, although he would have received a little training at TVB, but he fights very well in these scenes. This was actually his first martial arts film.

Chow is not the star here. It’s Leung Kar-yan’s courier who is the leading character.
Chow really stands out, but the film was made during his so-called “box office poison” period, which lasted until 1986. He was a TV star, but all the films he performed in bombed at the box office, and it wasn’t until A Better Tomorrow that he became a movie star.
Yu knew Chow from his own television work, and Chow wanted to make more films, and that’s how it came about. But it did lead to some problems. Chow had a legal dispute with TVB, as they wanted him to renew his contract and he didn’t want to do that, so they ‘froze’ him while it was being resolved. Yu had to stop shooting midway. It became very stop and start.

Chow hams it up, but Leung is deadly serious throughout as the quietly heroic courier.
Leung, known as ‘Beardy’ to Westerners, is a versatile actor who could do action, drama and even comedy. He has no formal martial arts training, but he’s a really talented mimic and is able to copy all the martial arts moves.
It’s quite amazing, as he does a great job in all his films, and you really can’t tell that he has no training.He was working at Shaw, and Sammo Hung Kam-bo noticed his ability to mimic, and cast him as a villain in Enter the Fat Dragon (1978).
Hung gave him bigger roles in films like Warriors Two (1978), and that’s how he gradually became this wonderful leading martial arts actor who’s good at [playing] both villainous roles and good guys.

How did Yu feel about the film when you talked to him?
He liked it. I feel that this film has a special place in his heart because of all the difficulties he encountered. I think it’s also his homage to films he likes, like The Wild Bunch and even Mel Brooks’ Blazing Saddles.
Yu also mentioned that, even though he had already made two films, at that point, he still knew very little about filmmaking. He said he relied on his love of comic books to get through the film.

He particularly loves Chinese comic books and the Batman and Spider-Man comics. He used the pictures in the comic books as reference points when he told the cameraman the angles for each shot.
And of course, the whole ice fight sequence is very wild, very energetic and very innovative. Nobody had ever shot an action scene like that before.
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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Leung Kar-yan in a still from “The Postman Fights Back”, directed by Hong Kong filmmaker Ronny Yu. The film features Leung as a courier in Republican China tasked with delivering a mysterious cargo to a violent mountain bandit, whose motley crew of associates includes a young Chow Yun-fat.

Fan Mei-sheng in a still from “The Postman Fights Back”.

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Why Ronny Yu’s The Postman Fights Back, starring Leung Kar-yan, is an unusual wuxia gem

.css-1c6uqr6{color:inherit;font-weight:inherit;font-size:inherit;font-family:inherit;line-height:inherit;overflow-wrap:break-word;}Starring Leung Kar-yan and with a young Chow Yun-fat on the cast, 1982’s The Postman Fights Back is an intriguing mix of Western and wuxia

Starring Leung Kar-yan and with a young Chow Yun-fat on the cast, 1982’s The Postman Fights Back is an intriguing mix of Western and wuxia