Based on historical events of the 12th century, "Water Margin" tells the story of 108 heroes referred to (by their enemies) as the "Liangshan bandits". They want to fight against a corrupt government, and therefore they ask 2 famous fighters to join them. These 2 are reluctant at first, but get into trouble with the so-called law very soon. Thus they don't really have freedom of choice anymore.

"Water Margin" is a fine example of Eastern classics produced by Shaw Brothers who got a cast full of stars together including Tetsuro Tamba as Master Lu. The best role, however, went to David Chiang as his right hand man Yen Ching, the Young Dragon. With irresistible charm, he defeats anybody - from pretty ladies to fierce fighters. The movie begins slow, introducing countless characters, but becomes very powerful and gripping in the second half. One recurring theme of the musical score seems to be inspired by Carlo Rustichelli's music for "I quattro dell'Ave Maria", which reminds the audience once again how often western movies and kung-fu cinema influenced each other. "Water Margin" was later followed by the sequel "All Men Are Brothers".

First time i saw this film was back when I was 5 years old. We had it in beta format. it was titled Seven blows of the dragon. The fight scenes and weapon usage is flawless. Epic. unforgettable. Last time I ever saw this film was more than 20 years a go. Now, amazingly, it has been released on DVD in it's original title on the Shaw Brothers DVD collection. ( Everybody note, the DVD title of this film is "The Water Margin" ) I also found a sequel of this film called "All men are brothers", but it's no where near as good as this film. Rent it, enjoy it. It will definitely build you up towards one of the most intense final confrontations you've ever seen on a kung-fu movie of this kind.

It would be interesting to find out how the directorial chores were divided on this very enjoyable production. The style is consistent throughout most of the film except for some poorly shot opening scenes. Those who wince at the classic Chang Cheh red paint brutality will be relieved to know that it's limited to the very end of the film. The rest of the film is filled with good action and brisk plotting.

The film is filled with dozens of unique characters, all introduced with title cards even 90 minutes into the film. Readers of the famous book might be interested but most are useless to remember as they barely ever do anything. Fortunately the film has enough merit that you can easily watch without getting confused by the parade of introductions. The two Japanese leads are excellent as is the rest of the ensemble cast while David Chiang carries the majority of the film's personality.

There is a strong spaghetti western influence which is not a bad thing in this case. The music soundtrack seems to be entirely ripped off from other films. But the tracks stolen are mostly good, if unusual, choices.

The martial arts are frequently very good when Chiang's character is fighting. It's a version of Chinese wrestling that is not shown too often. Chuan Chen must have been the wrestling choreographer since his only other film credit is the sequel to this film. The weapon battles are early versions of the classic choreography of Liu Chia Liang and Tang Chia.

Many HK martial art dramas from this era are either too stagy or too brutal for my taste. This film strikes a good balance. Recommended.