This film essentially begins with a young woman by the name of "Ainu" (Lilly Ho) being kidnapped by slave merchants and taken to a brothel owned and operated by a beautiful but extremely evil woman named "Lady Chun" (Betty Pei Ti). Although Ainu tries to escape and does everything in her power to resist she eventually is auctioned off to four men in particular who each take their turn raping her one day after another before returning her back to Lady Chun. However, after these ordeals are finished she not only gains the respect of Lady Chun but subsequently wins her affection as well. Yet in spite of her elevated status, Ainu still nurtures a hatred in her heart for those four men and as a result she patiently waits for the right time to gain her revenge. Now rather than reveal any more I will just say that, although I would have preferred a bit more depth and intrigue, this still turned out to be an entertaining martial arts movie for the most part. Likewise, it certainly didn't hurt to have two beautiful actresses like the aforementioned Lilly Ho and Betty Pei Ti. Be that as it may, while I don't consider this to be a great martial arts film by any means, it was certainly good enough for the time spent and for that reason I have rated it accordingly. Slightly above average.
12 Reviews
Good Femme Fatale action movie
BFE-419 September 1999
A woman learns martial arts to assassinate the men who raped her. She uses sexual wiles to get close to them. A memorable scene is where one of her victims is wary, having heard of the deaths of several colleagues. She reassures him that she cannot be the assassin. She takes off her clothes to show she is carrying no weapons. He fails to notice that her hair is held up by a large pin...
Don't be Fooled by the English Title
derek-duerden30 January 2024
Overall, this is a pretty good Wuxia story, with a brothel context and revenge story at its centre. The original Hong Kong title is more honest - if less salacious-sounding - and, apart from some appropriate toplessness towards the beginning and end, there's not much titillation. It is of course wildly patriarchal and sexist but presumably that's supposed to be a historical given?
Meanwhile, I'm not an expert in the genre but, for me, the action scenes aren't really a patch on fare such as House of Flying Daggers or (my favourite) Hero. This predates both by quite a while, of course.
Worth a watch if you like this kind of thing, but I'm not sure I'd recommend it.
Meanwhile, I'm not an expert in the genre but, for me, the action scenes aren't really a patch on fare such as House of Flying Daggers or (my favourite) Hero. This predates both by quite a while, of course.
Worth a watch if you like this kind of thing, but I'm not sure I'd recommend it.
She doesn't want a confession, she wants their lives.
Pjtaylor-96-13804426 April 2024
'Intimate Confessions Of A Chinese Courtesan (1972)' isn't a typical Shaw Brothers picture. Although its wider narrative arc and colourful period aesthetic fit neatly within the studio's oeuvre, its content is far more unsettling. Focusing on a young woman who is kidnapped and forced into prostitution, the film has no hesitation about unsettling its audience. Our hero is imprisoned, beaten, raped and generally forced to do things she doesn't want to do. It's genuinely hard to stomach at times, and even the freeze frames that accompany the most graphic moments of abuse do little to dilute their distressing nature. The piece really does act as a damnation of its central situation, displaying the unfortunate reality of the world's oldest profession. Crucially, though, it isn't against sex work itself, at least not explicitly. Instead, its issues are solely with non-consensual sex work, as evidenced by the fact that it doesn't judge the protagonist for eventually reclaiming her sexuality and using it as a weapon against those who have wronged her. It's a fairly refreshing take, especially for something this old, that goes hand-in-hand with the film's relatively open-minded depiction of same-sex attraction. While the only lesbian in the movie is the evil brothel overseer who becomes infatuated with the lead, she isn't the bad guy because she's gay, she's a bad guy who just so happens to be gay; a significant distinction that honestly may not even be intentional on the part of the filmmakers.
Eventually, it becomes clear that our hero has a plan in place to get the sweet, sweet vengeance she so deserves. To execute this plan, she plays into her predicament and uses the lust of those she seeks to destroy against them. She doesn't wait for someone to save her, she saves herself - or, rather, enables herself to get her hands bloody enough that she can find some sort of internal peace. It's here where the film starts to get a little more conventional, but even the most tried-and-tested of its genre beats hit just a little differently due to the context in which they're used. What starts out as a fairly slow, one-by-one kind of thing soon escalates into all-out carnage, and the jaw-dropping final act is a cathartic cacophony of chaos soaked in so much blood you'd be forgiven for thinking you were watching a pulpy Kung fu flick from much later in the genre's cycle. The choreography is as impressive as you'd expect from a Shaw Brothers production, but it's slightly more blunt and even scrappy so that it better meshes with the generally brutal nature of the overall film. The camerawork takes a similarly gritty approach, often favouring tighter compositions and even making use of some handheld shots. It makes use of elegant wirework to give its protagonist a somewhat otherworldly feel, almost like she's a ghost who has returned to haunt - or, rather, claim the souls of - those who killed her (perhaps, and this is purposefully reaching, this implies that her spirit, her true self, died when she was sold into sexual slavery and robbed of the life she could have lived). Somehow, these stylised fight scenes don't clash with the affair's dark tone and heavy subject matter, and they're honestly really satisfying in their own gruesome way because we don't have an ounce of sympathy for the baddies our hero is so effectively slicing up. The picture's ultimate conclusions about the indiscriminately destructive nature of revenge feel like something out of a late-stage martial arts movie, which tended to be more nihilistic than their predecessors. The picture is utterly devoid of hope, because even if the lead achieves her goal of killing those who harmed her, she's been irrevocably damaged and entirely consumed by a drive for vengeance. Love and hate have become tangled together, both used solely for murderous purposes, and there's a sense that even the hero has no real concept of coming out of this... well, I would say "unscathed" but perhaps "at all" is better.
I haven't even mentioned yet that the fact that the flick has a female protagonist, let alone one who is never saved by a man, is extremely commendable (especially for the era). While she is placed in sexual situations and treated as an object by those in the film, none of those scenes are even accidentally titillating (there's no on-screen nudity from the main actor) and it's clear that the movie itself does not condone the behavior it's depicting. The lead is a fully fledged character with her own arc and no need to take the moral high ground, every bit as complex and capable as any of her male counterparts in other Kung fu flicks from the time.
Overall, this is a distinct and affecting feature that doesn't feel overly distasteful despite its odd, potentially discordant mixture of genre and subject matter. It makes you uncomfortable, but it doesn't do it for the wrong reasons. It feels ahead of its time in most ways that matter. Blending beautiful on-set scenery and costuming with vicious violence of the most despicable nature, it sheds light on the realities of an industry often glossed over by films of its kind while also delivering on the cathartic Kung fu excellence you'd expect from those same films, all while somehow feeling cohesive.
It isn't perfect, though. The middle portion of the picture is a lot slower than it could have been, but it also speeds through an important transitional period in its protagonist's journey. There is a somewhat unrefined repetition that occurs when its in media res opening is finally caught up to, and some of the background performers who appear nude or semi-nude look uncomfortably young (especially three courtesans who appear in a four-way sex scene later on in the story and genuinely don't seem to have been eighteen at the time of filming based on what little information I can gleam from IMDb). There is also the occasional bit of clumsy choreography that feels like it could have been nailed if just one more take were to have been done.
Still, this is an unconventional and engaging effort that really does have one heck of a climactic massacre. If you can stomach its brutality, it's worth watching.
Eventually, it becomes clear that our hero has a plan in place to get the sweet, sweet vengeance she so deserves. To execute this plan, she plays into her predicament and uses the lust of those she seeks to destroy against them. She doesn't wait for someone to save her, she saves herself - or, rather, enables herself to get her hands bloody enough that she can find some sort of internal peace. It's here where the film starts to get a little more conventional, but even the most tried-and-tested of its genre beats hit just a little differently due to the context in which they're used. What starts out as a fairly slow, one-by-one kind of thing soon escalates into all-out carnage, and the jaw-dropping final act is a cathartic cacophony of chaos soaked in so much blood you'd be forgiven for thinking you were watching a pulpy Kung fu flick from much later in the genre's cycle. The choreography is as impressive as you'd expect from a Shaw Brothers production, but it's slightly more blunt and even scrappy so that it better meshes with the generally brutal nature of the overall film. The camerawork takes a similarly gritty approach, often favouring tighter compositions and even making use of some handheld shots. It makes use of elegant wirework to give its protagonist a somewhat otherworldly feel, almost like she's a ghost who has returned to haunt - or, rather, claim the souls of - those who killed her (perhaps, and this is purposefully reaching, this implies that her spirit, her true self, died when she was sold into sexual slavery and robbed of the life she could have lived). Somehow, these stylised fight scenes don't clash with the affair's dark tone and heavy subject matter, and they're honestly really satisfying in their own gruesome way because we don't have an ounce of sympathy for the baddies our hero is so effectively slicing up. The picture's ultimate conclusions about the indiscriminately destructive nature of revenge feel like something out of a late-stage martial arts movie, which tended to be more nihilistic than their predecessors. The picture is utterly devoid of hope, because even if the lead achieves her goal of killing those who harmed her, she's been irrevocably damaged and entirely consumed by a drive for vengeance. Love and hate have become tangled together, both used solely for murderous purposes, and there's a sense that even the hero has no real concept of coming out of this... well, I would say "unscathed" but perhaps "at all" is better.
I haven't even mentioned yet that the fact that the flick has a female protagonist, let alone one who is never saved by a man, is extremely commendable (especially for the era). While she is placed in sexual situations and treated as an object by those in the film, none of those scenes are even accidentally titillating (there's no on-screen nudity from the main actor) and it's clear that the movie itself does not condone the behavior it's depicting. The lead is a fully fledged character with her own arc and no need to take the moral high ground, every bit as complex and capable as any of her male counterparts in other Kung fu flicks from the time.
Overall, this is a distinct and affecting feature that doesn't feel overly distasteful despite its odd, potentially discordant mixture of genre and subject matter. It makes you uncomfortable, but it doesn't do it for the wrong reasons. It feels ahead of its time in most ways that matter. Blending beautiful on-set scenery and costuming with vicious violence of the most despicable nature, it sheds light on the realities of an industry often glossed over by films of its kind while also delivering on the cathartic Kung fu excellence you'd expect from those same films, all while somehow feeling cohesive.
It isn't perfect, though. The middle portion of the picture is a lot slower than it could have been, but it also speeds through an important transitional period in its protagonist's journey. There is a somewhat unrefined repetition that occurs when its in media res opening is finally caught up to, and some of the background performers who appear nude or semi-nude look uncomfortably young (especially three courtesans who appear in a four-way sex scene later on in the story and genuinely don't seem to have been eighteen at the time of filming based on what little information I can gleam from IMDb). There is also the occasional bit of clumsy choreography that feels like it could have been nailed if just one more take were to have been done.
Still, this is an unconventional and engaging effort that really does have one heck of a climactic massacre. If you can stomach its brutality, it's worth watching.
All the makings of a cult classic
simon_booth28 April 2003
18 year old Ainu (Lily Ho) is kidnapped and sold to a brothel. Her good looks and wild personality make her very popular with the lustful clients, but also draws the lesbian attentions of brothel madam Betty Tei Pei. Betty teaches Ainu the ways of lust and the ways of kung fu, and Ainu becomes more and more similar to her captor. But rage at her treatment is still burning inside her.
INTIMATE CONFESSIONS... ("Ainu" is the Chinese title) is another wu xia film from ace director Chor Yuen, but this time the exploitation angle often present in his films is brought right into centre stage. Chor Yuen seems to have been fascinated by lesbians, but this is the only film of his that I've seen where he gives them the starring roles. Both Lily Ho and Betty Tei Pei give sterling performances as the beautiful but vicious martial arts hookers, and they're joined by a cast of Shaws starlets in the nude to create a pre-Cat III film that balances action, intrigue and eroticism surprisingly well. The film is the acknowledged inspiration for Clarence Fok's NAKED KILLER, the ultimate Cat III classic.
As with all Chor Yuen's films, AINU is filmed entirely on Shaw Brothers sound stages, and features his trademark opulent art direction and cinematography. The plot is less labyrinthine than in many of his wu xia works, probably because Gu Long was in no way involved. In fact, the plot is probably too straight forward - the film runs less than 90 minutes, and doesn't develop its characters or situations as much as I would have liked. It still has a certain amount of depth and sophistication that is exceptionally unusual in a film centred around sex.
Yueh Hua has a small role as a hapless police officer, but it's undoubtedly the women that are the stars of the film. Even in the action scenes, which are not the main focus but are a pleasant bonus, it's Lily Ho and especially Betty Tei Pei that dominate. Given that neither of the ladies are martial artists they do a good job in the fights, with stunt doubles being noticable but not distracting. Ultimately its the characters and the situations that make the film interesting, and the art direction, cinematography and naked flesh that make it compelling. I enjoyed the film on a number of levels, and even my girlfriend was positively disposed towards it. I just wish it had been about 30 minutes longer, and spent a bit more time developing its story.
Definitely recommended.
INTIMATE CONFESSIONS... ("Ainu" is the Chinese title) is another wu xia film from ace director Chor Yuen, but this time the exploitation angle often present in his films is brought right into centre stage. Chor Yuen seems to have been fascinated by lesbians, but this is the only film of his that I've seen where he gives them the starring roles. Both Lily Ho and Betty Tei Pei give sterling performances as the beautiful but vicious martial arts hookers, and they're joined by a cast of Shaws starlets in the nude to create a pre-Cat III film that balances action, intrigue and eroticism surprisingly well. The film is the acknowledged inspiration for Clarence Fok's NAKED KILLER, the ultimate Cat III classic.
As with all Chor Yuen's films, AINU is filmed entirely on Shaw Brothers sound stages, and features his trademark opulent art direction and cinematography. The plot is less labyrinthine than in many of his wu xia works, probably because Gu Long was in no way involved. In fact, the plot is probably too straight forward - the film runs less than 90 minutes, and doesn't develop its characters or situations as much as I would have liked. It still has a certain amount of depth and sophistication that is exceptionally unusual in a film centred around sex.
Yueh Hua has a small role as a hapless police officer, but it's undoubtedly the women that are the stars of the film. Even in the action scenes, which are not the main focus but are a pleasant bonus, it's Lily Ho and especially Betty Tei Pei that dominate. Given that neither of the ladies are martial artists they do a good job in the fights, with stunt doubles being noticable but not distracting. Ultimately its the characters and the situations that make the film interesting, and the art direction, cinematography and naked flesh that make it compelling. I enjoyed the film on a number of levels, and even my girlfriend was positively disposed towards it. I just wish it had been about 30 minutes longer, and spent a bit more time developing its story.
Definitely recommended.
A sigh
g-8962213 January 2022
Warning: Spoilers
Sex is mixed with violence, plasma, and death to create an alternative and cruel aesthetic. Revenge with your body, you can attack your body, revenge with love, you can kill your heart. Erotic movies actually let a person see through the body sad, turned into a sigh.
Underrated classic of the chinese action adventure form
clevelander6 February 2003
I saw this movie in an English Cinema, in Birmingham, in the mid- 1970's, and was quite bowled over by its startling originality, at least to my eyes as a western viewer. It is far better constructed than most of the Kung Fu type movies that have world popularity, and will appeal to a discerning audience. The intricate plot deals with the fate and adventures of two women, masters of their marshal arts, and sworn to vengeance. The significance of the relationship between the two women grows until it becomes central to the film. That alone was original enough in the 1970's - but amazingly it is still original now.
The film has a legendary, classical feel to it, and is absolutely not self-conscious about the role of its female leads. The plot twists and turns down to its tragic denouement, breathtaking in its melodrama and beauty. I don't know enough about this but it felt very rooted in chinese culture , and had the classical structure of a greek or shakespearian tragedy.
It is also beautifully filmed, and has many of those chinese fencing scenes the mass public has only really just become familiar with in Crouching Tiger Hidden Dragon. But the latter is really not a patch on the earlier film.
There may be many more like this - I don't know - and although it didn't feel formulaic to me, perhaps it might to the chinese audience. So I only gave it eight, rather than the nine that was tempting me.
So why is this film so unknown, alone and unrated? That, I think, is the result of the unfortunate terms of its original release. Subtitled chinese movies at the time would appeal only to a specialist audience - (and Enter the Dragon had not yet appeared to change all that ) . But the specialist audience would instantly have been put off by the unfortunate "Confessions" marketing title, which immediately put it into the category of the contemporary naff British comedy series "Confessions of a window cleaner" and the like. Many a time I have tried to recommend this film title to friends only to be looked at incredulously as if - oh dear - how pathetic. Not that they would have found it easy to see it - it can't have enjoyed wide release.
Now is the time for re-release.
The film has a legendary, classical feel to it, and is absolutely not self-conscious about the role of its female leads. The plot twists and turns down to its tragic denouement, breathtaking in its melodrama and beauty. I don't know enough about this but it felt very rooted in chinese culture , and had the classical structure of a greek or shakespearian tragedy.
It is also beautifully filmed, and has many of those chinese fencing scenes the mass public has only really just become familiar with in Crouching Tiger Hidden Dragon. But the latter is really not a patch on the earlier film.
There may be many more like this - I don't know - and although it didn't feel formulaic to me, perhaps it might to the chinese audience. So I only gave it eight, rather than the nine that was tempting me.
So why is this film so unknown, alone and unrated? That, I think, is the result of the unfortunate terms of its original release. Subtitled chinese movies at the time would appeal only to a specialist audience - (and Enter the Dragon had not yet appeared to change all that ) . But the specialist audience would instantly have been put off by the unfortunate "Confessions" marketing title, which immediately put it into the category of the contemporary naff British comedy series "Confessions of a window cleaner" and the like. Many a time I have tried to recommend this film title to friends only to be looked at incredulously as if - oh dear - how pathetic. Not that they would have found it easy to see it - it can't have enjoyed wide release.
Now is the time for re-release.
a classic, shockingly erotic
law828 October 2003
This movie is much more than I expected, the 70s mainstream movie by a mainstream director has more eroticism and violence in it than most movies dared now. However, it is not a movie that simply tries to shock and push boundaries, it is a movie about injustice done to women and poor while the persecutor only care for the rich. The revenge story is restrained at first deliberately and the revenge escalates into a full blood bath at the end when Ai Nu finally let all of her fury comes out, it is easy to see the feminist movement connection.
I also thought the cinematography is beautiful, especially at the beginning when camera captures the slow dance of Ai Nu in contrast to the corpse covered by snow.
The fight scene is also rather good. In other words, a perfect 10/10.
I also thought the cinematography is beautiful, especially at the beginning when camera captures the slow dance of Ai Nu in contrast to the corpse covered by snow.
The fight scene is also rather good. In other words, a perfect 10/10.
Awesome!!!
athena-no-sainto5 September 2011
This film is really hard to classify in one genre,many people would say is an erotic film, some would say is a martial films but this film is unique...Lily Ho is amazing as the deadly Nv, a girl who accept her destiny just for change it but for me the real star of the film, the queen of this magnificent film is Betty Pei Ti as the evil mistress, she is able to give to the character all the evilness that she needs but at the same time she gives her some kind of tenderness that makes impossible to hate her..The end of the movie is amazing,but I will not spoil it here...I'm a big fan of the Shaw brothers films and this is one of my favorites, maybe I'm the biggest fan of this movie in the world..If you really want to have a great time, do not hesitate on watch it
Character drama meets murder mystery, Shaw-style
Leofwine_draca4 April 2017
Warning: Spoilers
Intimate Confessions of a Chinese Courtesan is a slow-moving character drama from the Shaw Brothers studio that nonetheless picks up in the second half with a series of murders that are in the grisly Shaw style. The story is set in and around a brothel in which one of the new girls, Ainu, refuses to have her spirit broken and decides to fight back against those who have wronged her. This sounds like one of Shaw's erotic movies although the nudity and sexual content is surprisingly kept to a minimum.
Shaw star Yueh Hua plays the role of a visiting detective who takes part in the film's murder mystery sub-plot, but he's very much a minor character here. Lily Ho shines as the sympathetic Ainu, the story's protagonist, but the real star of the show is Betty Pei Ti as the cruel brothel madam. Director Chor Yuen keeps the atmosphere going, although this can be a slog to watch at times. At least it builds up to a fittingly gruesome climax which features some great deaths courtesy of the "yin and yang hands" style, and top melodrama.
Shaw star Yueh Hua plays the role of a visiting detective who takes part in the film's murder mystery sub-plot, but he's very much a minor character here. Lily Ho shines as the sympathetic Ainu, the story's protagonist, but the real star of the show is Betty Pei Ti as the cruel brothel madam. Director Chor Yuen keeps the atmosphere going, although this can be a slog to watch at times. At least it builds up to a fittingly gruesome climax which features some great deaths courtesy of the "yin and yang hands" style, and top melodrama.
Brilliant
danthsmith12 July 2018
Best Kung Fu Flick Ever!!
starman27653 July 2008
Warning: Spoilers
Oh my god! This is, like, the perfect movie ever!! If you think that Kill Bill had style and class, it is just a jumped up lego building next to the Taj Mahal of classical kung fu madness, revenge and unbridled sexuality. This movie, made in 1972 - my god I was just 7 then - was years, no decades ahead of its time. It is a testament to the original director, writer, cast and crew that they were on the upper mast of a ship heading towards the new world of cinema and saw the infinite possibilities lying with in the dormant medium. And at the same time, it would be tantamount to lying to overlook the fact that in the last 30 odd years Hollywood has been treading water, left in the wake of that crew's ship.
The sets are beautiful, the acting; just cheesy enough to be spot on; the plot twists are at once predictable and yet so in your face as to be satisfying. What a bonus to have sadistic laughter erupt on screen at just the same moment as the mirthless chuckle emerged from my own gut watching this titan!! To say that this was an great movie would be like saying that Moby Dick was a long story; the ultimate understatement.
Look about you now. A computer screen, lights, your hands; the room your in. Imagine a new meaning to it all, insight, wit, fulfillment (of the cinematic variety at least) could be yours, simply by watching this gem of a movie. Almost on par with Hidden Tiger, Crouching Dragon this is a movie to be cherished by young and old alike. Find it, buy it, rent it, steal it, borrow it: just do your consciousness a favor and watch it - from beginning to end!! Did I say thumbs up yet? I'd see it again, almost any time.
Plot synopsis: Who needs that kind of thing in the face of pure genius!! This movie is like a barrel of monkeys, each one with a different face, gesture, sound; but all coming from and ultimately going to the same happy hunting grounds.
Really! To tell the plot line would just belittle the ultimate insight and profound joy (of a purely sadistic nature) that lies with in the heart of this amazing creature. However, in brief: girl is abused, fakes acceptance, kills people, people try to kill her; her weakness is exposed when she has the upper hand - no gyrations just death! - and she also dies. A fine ending to a fine movie. The only way it could have been better, is if the straggler of a detective had met his merry end as well! But in a sense, perhaps he does, if one cares to reflect on such things. Which is again the glory of this movie. No need for reflection afterwards, all is spelled out for the viewer, loose ends neatly tied in a bow.
Stop reading this and rent it already!!
The sets are beautiful, the acting; just cheesy enough to be spot on; the plot twists are at once predictable and yet so in your face as to be satisfying. What a bonus to have sadistic laughter erupt on screen at just the same moment as the mirthless chuckle emerged from my own gut watching this titan!! To say that this was an great movie would be like saying that Moby Dick was a long story; the ultimate understatement.
Look about you now. A computer screen, lights, your hands; the room your in. Imagine a new meaning to it all, insight, wit, fulfillment (of the cinematic variety at least) could be yours, simply by watching this gem of a movie. Almost on par with Hidden Tiger, Crouching Dragon this is a movie to be cherished by young and old alike. Find it, buy it, rent it, steal it, borrow it: just do your consciousness a favor and watch it - from beginning to end!! Did I say thumbs up yet? I'd see it again, almost any time.
Plot synopsis: Who needs that kind of thing in the face of pure genius!! This movie is like a barrel of monkeys, each one with a different face, gesture, sound; but all coming from and ultimately going to the same happy hunting grounds.
Really! To tell the plot line would just belittle the ultimate insight and profound joy (of a purely sadistic nature) that lies with in the heart of this amazing creature. However, in brief: girl is abused, fakes acceptance, kills people, people try to kill her; her weakness is exposed when she has the upper hand - no gyrations just death! - and she also dies. A fine ending to a fine movie. The only way it could have been better, is if the straggler of a detective had met his merry end as well! But in a sense, perhaps he does, if one cares to reflect on such things. Which is again the glory of this movie. No need for reflection afterwards, all is spelled out for the viewer, loose ends neatly tied in a bow.
Stop reading this and rent it already!!
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