Film Name: 洪熙官 / The New Legend of ShaoLin / Legend of the Red
The father-son relationship in the film is deeply moving. At the beginning, the entire family is slaughtered, leaving only the young son Hong Wending. Hong Xiguan knows he cannot escape a life on the run, but he refuses to impose such a fate on his son. He gives him a choice: a sword or a wooden horse, representing two paths in life. One path means joining his father in a life of bloodshed and violence; the other means descending into the underworld to reunite with his mother. Wending’s choice foretells a life as his father’s comrade-in-arms. Children who endure such upheaval often mature early. Wending doesn’t act like a child but like a warrior, obeying his father’s every word. His father constantly instills the virtue of endurance, training him in self-control and tactical skills. Wen Ding saw through romantic entanglements instantly, exposing his father’s affection for Sister Hongdou before the man himself would admit it. He wholeheartedly supported his father’s new relationship, immediately addressing Sister Hongdou as “Mom” once their bond was established—a gesture that filled her heart with joy. Such a blended family could never harbor a wicked stepmother; it was destined to be a harmonious household.
When the Shaolin abbot chose to imprint the treasure map on these five youths’ backs, I thought it a misguided decision—their moral compass showed no hint of loyalty or bravery. Yet their profound loyalty, fearless deeds, and unwavering devotion later proved me wrong. Though flawed, their character proved utterly reliable. The abbot had chosen wisely. They embodied the true spirit of martial arts. After being defeated by Hong Wending, they didn’t harbor grudges or stab him in the back. Instead, they revered him as their elder brother and vowed to follow him to the death. Such martial artists deserve respect. In short, these five lads were dependable.
Ma Chao Xing’s father, one of the Five Ancestors of Shaolin, was quite an interesting character. His name was Ma Jia Shan, known as the Great Benevolent Man. In his forties and still childless, he was enlightened by a monk and began performing acts of kindness, eventually being blessed with a son. From then on, he made “doing one good deed daily” his guiding principle. However, his benevolence came with a condition: he only performed acts that offered him some benefit. Thus, he naturally became a victim of the scam where Hongdou sold himself to bury his mother. This approach to charity may seem laughable, yet it reflects a reverence for the laws of the mortal world. Though it falls short of the highest form of selfless goodness, it remains commendable. Thus, after the imperial court unleashed a massacre upon the Ma family village, only Ma Jiashan survived. This outcome fulfilled the saying that good deeds are rewarded with good fortune.
Hong Xiguan’s signature weapon was the silver spear. His “Poison Dragon Piercing Heart” technique unleashed devastating power, instantly ripping enemies open. Its lethality and spectacle reminded me of Li Yuanfang’s chained dagger—a flexible, decisive weapon that overpowered foes with a single strike.
Director Wong Jing made a cameo as Fang Dahong’s father, named Fang Shiyu. This pushed the film’s comedic tone to its absolute peak.
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