Tag: hong kong

My Young Auntie

  By

★★★½
“Serious kung fu, light gags.”

youngauntieHui won the Best Actress award at the first ever Hong Kong Film Awards for her role in this 1981 film, in which she plays Cheng Tai-nun, a young martial-arts expert who marries an elderly landowner so that his unscrupulous brother won’t be able to take the landowner’s assets upon his death. Instead, title passes to Tai-nun, who heads off to Canton to stay with her (much older) nephew, Yu Cheng-chuan (Lau), and his son Yu Tao (Ho), whose hip, young ways clash badly with Tai-nun much more traditionalist views. But the brother plans to steal the dead to what he considers “his” estate, and it’s up to Tao and Tai-nun to prevent that – with the help of a roster of elder relatives and Cheng-chuan, who must also be coached in the ways of kung-fu.

There’s three-quarters of a very good film here, and Hui is amazing; not someone to whom I’d paid any attention before, she was both lithe and graceful. This isn’t limited to her fighting skills. Perhaps the peak of the film is a masked ball which Tai-nun is tricked into attending by Tao, and her lack of dance skills are embarrassingly exposed, in a range of genres from tango to swing. It’s brilliant, because you get a real appreciation for the coordination required in making yourself look incredibly uncoordinated. That this turns into a massive and well choreographed sword-fight, with Tai-nun dressed as Marie Antoinette [at a guess] is merely a very pleasant bonus. Director Lau went on to helm Drunken Master II and this has much the same approach, combining comedy and action to good effect; the laughter flows naturally from the characters, rather than (as so often) appearing forced; the caption from the trailer, quoted at the top, gets it about right.

The main problem is a final third which unceremoniously shunts Tai-nun off to one side, with the climax pitting Tao and his older uncles against their thieving relative, as they try to get the property deed back to its rightful owner. If decent enough, there’s nothing at all to separate it from a plethora of other films of its kind and type from the era, and you just wish they had given Hui – perhaps with Ho – a final chance to shine, instead of all but eliminating her from the movie that bears her character’s name. Still, if you can keep your brain around the blizzard of generational family loyalties (or, alternatively, ignore them completely), you’re in for a fun time. If it could fairly be accused of throwing everything but the kitchen sink at the wall, more than enough sticks to justify it, and Hui makes for a striking heroine, whose other films I am clearly going to have to chase down.

Dir: Lau Kar Leung
Star: Kara Hui, Hsiao Ho, Lau Kar Leung, Wang Lung Wei, Gordon Liu

Deadly China Dolls 2

  By

★½
“Deadly china dulls.”

deadlychinadolls2Dear god. So much to dislike here, from the completely spurious warning label on the sleeve – no, it does not contain any “scenes of a violent or sexual nature”, unless you apply some extremely 1950’s definition of “violent” and “sexual” – through the fact that it consists of well over an hour of little more than training montages. That occupies the vast, rotten bulk of the running time, after Sister Po rescues a bevy of individual women, all being menaced by various men from a criminal syndicate, with the inexplicable aim of turning them into a unit capable of taking on said syndicate. Much, much, much training later, with about 10 minutes left in the film, they are suddenly rushed into their mission.

Despite the best efforts of Sister Po and the nameless actress portraying her – I do not believe a word the sleeve says about casting, considering the presence of names like “Leggy Leung” and, even less credibly, “Jugs Cheung” – this is utterly impossible to take seriously. Which would be okay, if the efforts at comedy were not so strained as to feel more like somebody dealing with a bout of constipation, and make Benny Hill look like Noel Coward in terms of wit. The nadir of its humourous stylings comes when a svelte trainee falls over, and gets up to reveal her bosom has dug two round holes in the ground. If your sides are splitting hysterically at the mere description of that, then this film’s for you. Also: keep banging the rocks together, guys.

The action is pitiful in the extreme, but I must confess, I do have to award an extra half-star for the sheer, bat-shit crazy nature of the song which accompanies more than one of the training montages. This is likely enhanced by the low quality of subtitles which on multiple occasions, use “Get in the car!” when they actually mean, “Climb on the back of my motorcycle!” Hard to say whether the resulting song lyrics count as lost in, or enhanced by, translation. Either way, I made the effort to transcribe the entire thing for your pleasure: I guess even if it’s memorable for all the wrong reasons, that may be better than not being memorable at all. Punctuation has been lightly polished for clarity; otherwise, all typos and grammatical gaffes are entirely as presented.

Big-breast girls come from everywhere
Mature, beautiful, attractive.
Big-breast girls are sexy and open
Great figure praised everyone.

Long hair reach to shoulders
Big expressive eyes.
Cherry red lips
Flirt like butterflies.

Big-breast girls are beatueiful
Brave and courageous heroines.
Too perfect to be true
Big-brease girls are coming to you…

Dir: Tommy Liu (Chen-Kuo Chao)
Star: Ling Lieu, Mandy Yeung, Leggy Leung, Jugs Cheung
a.k.a. Ladies in Operations
Original title: Bo ba zong dong yuan

The Invincible Eight

  By

★★½
“Clearly one-up on The Magnificent Seven.”

TheInvincibleEight+1971-85-bThis early Golden Harvest ensemble piece focuses on a plot for communal revenge against the evil General Hsiao (Han Ying Chieh), who was responsible for killing the fathers of the titular octet during his rise to power. However, he’s not all bad, as he raised a couple of his victims’ children as his own, who are now on his side, unaware of his involvement in their status as orphans. Three of the eight are women, a solidly respectable ratio given the 1971 provenance. They include both relative newcomer Mao as Kuei Chien Chin, who disguises herself as a man – as thoroughly unconvincingly as these things usually are in Hong Kong movies! – to infiltrate Hsiao’s camp, and the more established Miao as Chiang Yin, one of the previously mentioned surrogate offspring adopted by the general. The third is Lydia Shum, who is perhaps actually the most memorable, being loud, abrasive and larger than life in a very physical way.

While clearly not as gifted, she reminded me of Sammo Hung, which is interesting, since he was one of the action directors on this file; he and another well-known future face of Hong Kong cinema, Lam Ching-Ying of Mr. Vampire fame, are among the general’s nine whip-wielding bodyguards. This does at least allow for a touch of variety among the fights, since it makes a nice change to see whip vs. sword rather than an endless parade of sword vs. sword. However, it is still fairly limited in its own way, even if does force our heroes and heroines to come up with a special pair of double swords, which can be used to counter the menace. Hsiao is, as villains go, a bit less cartoonish than you’d expect, his killing having been for purely pragmatic reasons, and his desire to take care of some of the children indicates the acts were not entirely guilt-free. There’s a case his right-hand man, Wan Shun (Pai) is worse, though by the time the eight get past him and fight their way into his chambers, Hsiao is not exactly pleading for mercy.

It is a bit of a mixed bag, both in terms of action and in characters; this kind of thing has a tendency to feel over-stuffed, as if the makers are touting the quantity of characters more than their quality. This also has a negative impact on some of the fight sequences, particularly later on, when you have, literally, eight fights going on simultaneously, and as an early Golden Harvest film, they are still clearly finding their feet artistically. Lo Wei would go on to help more memorable movies such as The Big Boss and Fist of Fury, though how much of their success was down to him is, naturally, open to question. Certainly, they had something this film unquestionably lacks; a central star who can command the audience’s attention for the entire length, even if it’s passable enough, as a kung-fu version of Ocean’s 11.

Dir: Lo Wei
Star: Nora Miao, Tang Ching, Angela Mao, Pai Ying

Temptress of a Thousand Faces

  By

★★★
“Face-off?”

temptressThis loopy slice of sixties Shaw Brothers nonsense is best described as a bizarre combination of martial arts, 007 and Danger: Diabolik. The titular supervillainess has Hong Kong at her mercy, robbing at will due to her extraordinary disguise capabilities. The police, in particular detective Ji Ying (Chin-Fei), are aggravated, and matters are not helped by the local media sensationalizing things, realizing news about the Temptress sells a lot of newspapers. They are led by Molly (Ting Hung), who goes as far as fabricating stories entirely, which brings down on her the wrath of Ji Ying. The Temptress is similarly upset by Ji Ying’s public pronouncements condemning her as a threat to society and kidnaps the policewoman, bringing her to a secret lair purely to explain how the Temptress is doing to destroy Ji Ying’s life. This she proceeds to do, by carrying out subsequent robberies while wearing Ji Ying’s face, causing her to be arrested for those crimes. The cop escapes custody, and it seems the only way to prove her innocence is to capture the real Temptress.

There are so many aspects here that are utterly ludicrous; my favourite was likely the Temptress’s lair, which is exactly what I would build, if ever I become an evil overlord. It’s all dry ice, pillars and needlessly complex torture devices, though does at least have a pool, in which the Temptress occasionally lounges, being soaped down by pastie-wearing minions. I also enjoyed the way said henchmen, on the numerous occasions when they are sent to capture Ji Ying, will inevitably first try to defeat her in hand-to-hand combat, and only after failing, then resort to pulling out their guns. To offer an honest assessment, the Temptress needs to have spent more money on her recruitment policy and rather less on the facilities. And I haven’t even got to the glorious fight between Ji Ying and “Ji Ying”, when the cop bursts in on the Temptress, wearing her face and snogging her boyfriend. Coincidentally, they’re both wearing the same outfits, and the poor man has no clue which one is the real deal, adding to the scene’s utterly surreal quality.

But, it should be stressed, these hardly detract from the entertainment value to be had here, even if many of them were apparently intended to be taken far more seriously at the time (which would be 1969) than they deserve. The heroine and villainness make for a fine pair, and given the era, it’s especially refreshing that just about all the men involved are incompetent and/or background figures. Accept that you will probably be laughing at the film as much as with it, and you’ll find an enjoyable 76 minutes of nonsense to be had here. [Tip of the hat to Dieter for pointing me in the direction of this one!]

Dir: Chang-hwa Jeong
Star: Tina Chin-Fei, Liang Chen, Pat Ting Hung

The Lady Assassin (1983)

  By

★★½
“Fairly whizzes past – though not necessarily in a good way.”

lassThe running time here is 86 minutes, but would probably be closer to two hours if they’d filmed the fights at normal speed. Because the undercranking – filming at a slower than normal frame-rate, so action looks quicker when played back at the normal speed – in this one is both copious in volume and excessive to its degree; I kept hearing the Benny Hill theme in my mind during the fight sequences. That’s a shame, because the performers here are talented enough they don’t need it, and the technique detracts from, rather than enhances, their skills. On the other hand, perhaps they needed to hurry things up to make room for the plot, because there’s quite a lot of that to fit into the film too. Let me try to summarize it.

There are two heirs vying for the imperial throne, Fourth Prince (Tony Lui) and Fourteenth Prince (fortunately, princes #1-3, 5-13 and 15+ are not apparently interested). To tip the balance his way, Fourth gets the assistance of dissident Lui Liu Liang (Ku), whose niece Si Niang (Leanne Liu) helps retrieve the emperor’s will, so #4 can doctor it and make himself the heir instead of #14. After taking over, Fourth exiles Fourteenth and “forgets” all his promises to Lui about not being so harsh an overlord. When Lui keeps showing up at court to remind Fourth of his broken oath, Fourth opts to silence his former ally permanently. But in so doing, he makes a mortal enemy of Si Niang, who joins forces with Fourteenth’s bodyguard, Tsang Jing (Chu) to take care of the usurper, who has hired some additional help of his own, in the form of a Japanese martial-arts master.

Despite the title, this is probably more of an ensemble piece, with Si Niang just one of many pieces to the jigsaw puzzle which is the plot, albeit one pivotal to proceedings. In particular, she’s the one who breaks into the Imperial Palace, locates the will’s secret hiding-place, and extracts it so Fourth can make himself the declared heir to the throne, thereby kicking off the events that follow. However, she is among a number of interesting female characters, also including Jade and Pearl, who assist Tsang Jing, and Lui’s daughter. While I have my previously-noted and significant qualms about the style of filming, which feels a good 15 years older than its actual 1983 date, I certainly cannot complain about the quantity of action, which is copious, and the people involved clearly know what they’re doing. The script is a bit of a mess though, with elements that just peter out, such as Fourteenth Prince, who must have had another engagement elsewhere. And the ending has to be among the most abrupt of all time, coming, literally, before the final body has even hit the floor. It occupies an uncomfortable position between old- and new-school Hong Kong cinema, and you can understand why the Shaw Brothers’ star was on the wane, and increasingly eclipsed by Golden Harvest.

Dir: Chin-Ku Lu
Star: Leanne Liu, Norman Chu, Tony Liu, Ku Feng

The Angry River

  By

★★½
“A bridge too far.”

angry riverNot just Angela Mao’s feature debut, it was also the first film produced by then-fledgling studio Golden Harvest, who would go on to become arguably the premier name in Hong Kong Film production, up until the colony’s handover back to China in 1999. Even discounting their work with Bruce Lee, Jackie Chan, Sammo Hung, Tsui Hark, Stephen Chow, Donnie Yen, etc. and sticking purely to the action heroine field, Golden Harvest were the company behind She Shoots Straight, the Inspector Wears Skirts series and Naked Killer. Their commitment to our field is apparent right from this inaugural movie, where Mao plays dutiful daughter Lan Feng, whose father becomes one of the victims of ‘Poison Dart’, whose name pretty much explains what he does. Cursed to a long lingering death, the only cure is a rare herb.

Lan sets off to find it, crossing the fiery Angry River, going through the Merciless Pass, and encountering another couple of dangers without names, but we might as well call them the Cave of Really Bad Optical Effects, and the Giant Gecko That Knows Kung-Fu. The latter actually defeats our heroine (though she does save 15% on her car insurance), but impressed by her filial piety, she is given the herb, albeit at the cost of losing her kung-fu skills. She then has to make her way back home, which is even more perilous now she can’t fight, and has to rely on the kindness of strangers to protect her, because there are a lot of other people who are also very keen to get their hands on the mystical plant, whose powers extend beyond being merely an antidote to poison. And when she finally returns to her home, a nastier shock awaits.

Maybe it is just me: I kept being reminded of Homer’s Odyssey, with Mao playing the hero, whose objective, simply to get back home is endlessly diverted and derailed by external forces. I suspect any such similarity is, as they say, purely coincidental, and they just share the same basic plot of the hero’s journey, as introduced by Joseph Campbell in The Hero with a Thousand Faces. But there are elements where you can tell it was a debut film, such as the rubber-suited lizard which, it’s charitable to say, presumably worked better on the page than the screen. It’s also a mis-step to rob the heroine of her powers for almost the entire second-half, leaving her a spectator to her own story – even Odysseus only spent a bit of time tied to the mast. Particularly early on, Mao’s fights feel stilted – punch-pause-block-pause-kick – though there actually is a storyline reason for why she has to be reined in to start with, in order that Mao can go full-throttle at the end [like I said, the herb has other uses…] You can see where they were aiming – slightly to the side of the then-dominant Shaw Brothers studio – yet overall, there’s certainly a lot of room for improvement here. As a first effort, I guess it’s okay.

Dir: Feng Huang
Star: Angela Mao, Kao Yuan, Pai Ying, Han Ying Chieh

Angel Terminators 2

  By

★★★★
“Angels of death”

angelterm2I have not seen Angel Terminators, so cannot comment on its merits or flaws. However, it does not appear that this impacted my thorough enjoyment of this slice of early 90’s Hong Kong goodness, and nor did the mangled subs which leave me a little vague on some details. The two heroines are Chitty (Lee) and Bullet (Oshima), who are… Cousins? Sisters? Not sure. Bullet has just got out of prison, having turned to delinquency after blaming her policeman father for the death of her mother. He and his partner (Hu) – who adds to the confusion because everyone calls her Big Auntie – try to achieve a reconciliation, but Bullet is unimpressed. She goes to her former gang boss for money, having taken the fall and gone to jail for him, but he just wants Chitty to become a hostess. The fight than ensues, kicks off a chain of events which leads to Bullet stealing some jewels belonging to the boss, who unleashes the accurately-named Brother Mad (Wong).

Will there be mayhem? Yes. Will there by fisticuffs and much gunplay? Yes. Will there be people strung up from lamp-posts like some kind of novelty Chinese lanterns? I’m not saying: I’ll let the film retain some element of surprise. But for all its broad strokes of characterization, it manages to deliver a relatively-even tone, without any of the slapstick and comic interludes which sometimes plague other entries. Indeed, it does become progressively darker, with a kidnapping forcing action that then goes horribly wrong, setting up even further death and violence. This is all accompanied by high-quality action, right from the get-go, starting with Hu leading an assault on criminals holed up in a restaurant, before quickly bringing you a battle between Lee and the leaders of another training squads in a gym, then escalating from there through to a bloody finale.

It’s easy to become somewhat jaded, particularly when you’re watching films because of their genre, without applying any quality control. But then you find a movie like like this, which looks like just another generic action heroine flick, yet instead delivers everything you could want from low-budget action, easily making up for in energy what it may lack in polish. With Lee, Oshima and Hu, you have a hand of three aces, and the film is only a couple of Khans (Cynthia and Michelle, a.k.a. Michelle Yeoh) from having the best cast ever in a HK action heroine film. Unlike some (hello, Avenging Quartet), it lives up to that.

Dir: Lau Chan + Chin-Ku Lu
Star: Moon Lee, Yukari Oshima, Chi Yeung Wong, Sibelle Hu

When Taekwondo Strikes

  By

★★★½
“The Angela Strikes Back”

7242870.3There’s more than a hint of Hapkido here, with many of the same cast, and more less the same thirties setting, with Korea again laboring under the yoke of Japanese occupation, etc. Things kick off when Jin (Wong) seeks sanctuary from the occupying forces in a local Catholic church. The Japanese soldiers rush in, but get demolished by Uncle Li (Rhee), a rebel topping their wanted list who has been hiding out as the priest’s gardener. Jin and Li depart, along with the priest’s niece (Winton), but the priest himself remains, and is captured and tortured for information about Li’s whereabouts. Wang Lin Ching (Mao) is drawn in when Li asks her to check on the cleric, causing her to become targeted by the Japanese too. An attempt to rescue the priest goes wrong, ending with Li being captured, and the others having to flee Korea for mainland China. However, that may not be far enough, and when the Japanese figure out where they are, they us Li as bait to lure Wang and the others out of hiding.

Despite being considered the father of American Tae Kwon Do, and a good friend of Bruce Lee, this was Rhee’s only released film (rumors of another have been heard). Seems a bit of a shame, as he makes his presence felt here, particularly toward the end. For action heroine fans, the focus will naturally be on Mao, and we’ll get to her shortly. However, we shouldn’t forget Winton, also in her only film role, who makes an immediate impression as an martial arts trained nun  Going by her clothing, anyway; the film is kinda loose on Catholic ritual. Man, The Sound of Music would have been so much cooler, if Julie Andrews had only known kung-fu…

As for Mao, she has a couple of absolutely stellar fight scenes, including a church brawl [after the soldiers realize she isn’t Catholic, because she didn’t cross herself on entering!], a battle in a forest, and the final fight. However, in terms of her action, things perhaps peak when she returns to her family restaurant to find a long-haired Sammo Hung, playing a Japanese henchman, roughing up her mother, along with his goons. The last is embedded below – it should start at the correct time, but if not, 39:20 is where you want to be. I just love the way she casually flicks her pigtail round the back just before things kick off, as if to say, “I am serious Angela Mao. This is serious business.”

The one thing that stops the film from getting a seal of approval is a disappointing slump in the middle, after the (fairly lame) effort to rescue the priest. Nothing much happens for what feels like a good half-hour, and that’s a shame, since the action elsewhere is both copious and often excellent. Many fights are virtually the equal of any Bruce Lee film, not least because there are half a dozen excellent martial artists involved here, rather than Bruce being far and away the best. This adds a real sense of balance to proceedings, and if you’re looking for an introduction to the movies of Angela Mao, this is certainly recommended.

Dir: Huang Feng
Star: Angela Mao, Jhoon Rhee, Carter Wong, Anne Winton

Kickboxer’s Tears

  By

★★½
“Tears are not enough.”

kickboxersA truly crappy plot here, used to link fight scenes that range from the boring – that would be the actual kickboxing, which greatly outstays its welcome – to the impressive. Li Feng (Lee) is visiting her kickboxer brother in Hong Kong, when he is killed by a cheating opponent, after refusing to take a dive on the orders of Mr Wong (Lung). The death also throws into jeopardy the family training gym/healthcare establishemnt [a crossover at which no-one blinks an eye], which was already financially shaky. To both get revenge, and earn enough money to stabilize things, Li goes to Wong, and demands an underground rematch against his fighter. When that happens, but leaves her opponent permanently paralyzed, Mrs. Wong (Yukari Oshima), who is the victim’s brother, as well as the promoter’s wife, demands a winner-take-all match to the death. And she kidnaps Li’s semi-boyfriend (Lam) to make sure Li  turns up for the contest.

This 1992 Hong Kong film has the same jarring shifts in tone present in many of that time and place. Given the sombre nature of the core situation, there really shouldn’t be any room for slapstick humor – yet there are at least two comic relief characters too many here, and I found myself cringing in just about every one of their scenes. The early action is more than a bit ropey too: while it may be ‘authentic’ kick-boxing, it’s pretty dull to watch, and it’s only when the film moves outside the ring that things become interesting, especially when Lee gets going. She has one great street-fight against a group of thugs, another in a restaurant when she’s proving her worth to Wong as an opponent, and of course, the all too brief duel which pits her – literally, since they’re in a pit – against Oshima. All three are a great combination of inventiveness and hard-nosed action, also showcasing Lee’s great flexibility [there’s also an eye-popping training scene, where her character casually does what is best described as the vertical splits].

However, to appreciate these sequences, you are going to have to sit through story-telling of the most cliched sort, plus acting from her supporting cast that would be rejected as lacking in subtlety by Adam Sandler. Particularly irritating is the finale which has three fight scenes going on at once, cross-cutting between them to the detriment of all three, then robs Li of being able to take her thoroughly-deserved revenge personally, before ending so abruptly, I was left wondering if the final ten pages of script had fallen into a shredder, and the makers decided just to do without them. All these other aspect are significantly sub-optimal, and ten good minutes of action do not sufficiently outweigh them. Especially not when those ten minutes are embedded below, saving you an hour and twenty. You’re welcome!

Dir: Da Wei Shen
Star: Moon Lee, Wilson Lam, Mark Cheng, Lung Fong

The Bod Squad

  By

★★★
“Several virgins short of a six-pack.”

7seasIn the 1970’s legendary Hong Kong studio Shaw Brothers sought to broaden their market with a series of co-productions. The results included the likes of Legend of the 7 Golden Vampires, from a partnership with Britain’s Hammer Studios, plus Cleopatra Jones and the Casino of Gold. But perhaps the most bizarre such product is this, which crosses martial arts with the softcore sex films from the time, the best-known of which is probably Hofbauer’s Schulmadchen Report (Schoolgirl Report). The results are… Well, I’d be hard-pushed to call them great cinema, but I would have to confess to being rather more entertained than I expected.

Contrary to one of the alternate titles, Enter the Seven Virgins, there are actually only five women here, and some of those aren’t exactly virgins. They are captured by pirates, and brought to their island lair, where buccaneer boss Chao (Hsieh) leers at them and puts them through a training course designed to get them ready to be sold into white slavery. Except, he doesn’t know that one of his minions, Ko Mei Me (Liu), is actually working, along with her brother, to take him down, and trains the captives in martial arts, as well as the ancient Chinese art of spitting olive pits at such high-velocity, they can punch a hole through a vase. After copious amounts of gratuitous nudity, the women eventually break free, get recaptured, escape again, and take on Chao and the rest of his henchmen in a battle which makes up for in duration, what it may lack in quality.

Actually, that’s a little unfair: considering the Western cast were more used to films with titles such as Campus Pussycats, they perform credibly enough. There’s not as much stunt doubling as I expected, and they’re clearly giving it all they have, occasionally impressively. Bray stands out in particular – and I mean that literally, since it seems she’s taller than most of the men in the cast. Liu, however, clearly has the most experience, and its understandable why she gets given most of the action. In some ways, this can be seen as a primitive ancestor of Category III films such as Naked Killer: while lacking quite the same lurid insanity, and featuring a degree of casual racism that’s fairly off-putting [apparently, the sight of Western flesh is enough to send most Chinese men into drooling imbeciles], it’s still fun for the undemandingly open-minded. Admittedly, a fondness for Benny Hill may help, and providing you can get past hearing Chinese people dubbed into German, as well as subtitles that may have lost their way a bit in translation. I’m still trying to figure out the meaning of, “It’s a bank holiday, it’s Mothers’ Day in Africa.”

Dir: Kuei Chih-Hung + Ernst Hofbauer
Star: Liu Hui-Ling, Wang Hsieh, Sonja Jeannine, Gillian Bray
a.k.a. Virgins of the Seven Seas
a.k.a. Enter the Seven Virgins
a.k.a. Karate, Küsse, blonde Katze [Karate, kisses, blonde cats]