But by 1994, when Daniel Lee’s What Price Survival was released, it had all but disappeared, due in part to the fact it had been done to death, and in part to the fact that Wu Xia Pan’s and costumed epics in general weren’t that popular anymore during the eighties. the One-armed Swordsman) and variants (for instance The One-armed Swordsmen or The One-armed Swordswoman). ![]() The one-armed sworsman is a fixture of Chinese cinema, from the original Shaw Brothers trilogy directed by Chang Cheh and starring first Wang Yu, then David Chiang, to countless crossovers (including Zatoichi vs. And rightly so : his scores show a great versatility, an ability to adapt to different genres and to integrate illustrious musical influences (Ennio Morricone, John Barry, Hans Zimmer…) while never forsaking his own style.įor a primer of Henry Lai’s talents you can listen to his rousing, heroic theme for 14 Blades, the wistful and folkloric “Paddy Field Song” from The Lost Bladesman, the heartbreaking lament for Nick Cheung’s character in The Beast Stalker, the driving investigation theme from The Four, the triumphant Russian-flavoured training music in Star Runner, the tense, pulsating action music from The Sniper, the touching, delicate score for Echoes of the Rainbow, the Morricone-inspired music in A Fighter’s Blues, the ominous main titles cue from Fire of Conscience, the gripping percussive music (one of Lai’s specialties) of White Vengeance, or the gloriously epic main theme of Three Kingdoms : Resurrection of the Dragon. A four-time Hong Kong Film Awards nominee, his talents have been sought by some of the most high-profile directors in China and Hong Kong, including Dante Lam, Daniel Lee, Mabel Cheung, Alex Law, Gordon Chan, Felix Chong and Alan Mak. In the twenty year since his film music debut in 1994, Henry Lai Wan Man has secured a firm spot on the short A-list of Chinese film composers, next to fixtures like Chan Kwong Wing or Peter Kam.
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