The Bloody Parrot
Hong Kong’s Shaw Brothers Studio served as an introduction to Asian culture for many fantastic film fans. Their vast catalog spans several decades and multiple genres. One movie could be a mixture of several genres at once. 1981’s The Bloody Parrot is a great example of a melange of kung fu, horror, and straight up exploitation in one baffling film.
The Bloody Parrot's (1981) incoherent story serves only as a vehicle to showcase the excellently choreographed fight action that Shaw Brothers Studio was famous for around the globe. In its simplest terms, Yeh Ting Feng (Pai Piao), a wandering swordsman, goes on a quest to bury a fallen comrade. Along the way, he encounters stolen treasure, treachery, black magic, and even some romance. Battles break out every few minutes (and sometimes even faster!) as his foes attempt to stop him. In a weird gesture, they introduce themselves with a name derived from their weapon of choice.
The Bloody Parrot is pure eye candy for the viewer. The movie features an abundance of Peking Opera style acrobatics in the well choreographed fights and elaborate costumes. There is also plenty of gore as blood spurts, body parts are severed and maggots crawl on monstrous creatures. All this happens on amazing sets, from beautifully appointed courtesan’s bedrooms to a baffling underground maze of mirrors. There is always something to delight the viewer.
Another Shaw Brothers trademark is lots of (mostly unexplained) nudity. None of the characters give the odd, bare breast a second thought (or glance). Actress Jenny Liang regularly appears half dressed, from left to right, which adds a layer of bizarreness to her demonic possession scene.
As far as what all this means, that is up to the viewer to decide. The story may be an incoherent mess, but it is a well made incoherent mess.
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