I enjoyed both films, but found the direction of 36th Chamber much better. I'm afraid that for those looking for authentic Shaolin boxing appropriate to the era (17th-18th Century CE for 36th Chamber and early 7th Century CE - I think - for Shaolin Temple) they will find something different. Lau Kar Leung's emphasis is Hung Gar, the combination of Tiger and Crane style developed following the destruction of the Southern Temple - certainly developed from the Shaolin model, but historically later. The performers in Shaolin Temple are experts in modern Wushu - very specifically situated in the PRC following the Communist victory. I wouldn't want to criticize either form, although Hung Gar seems to have greater real world application. I would assume that the state of Shaolin Temple boxing at the end of the Sui Dynasty was entirely different from that in Shaolin Temple, and that practiced early in the Qing Dynasty somewhat different from the contemporary Hung Gar of 36th Chamber. Of course, all of this ignores the fact that film fighting is modified in order to look more dramatic on screen. Lau Kar Leung has stated on many occasions that he changes the Hung Gar forms to have wider, showier moves on screen. I'd like to see someone use entirely authentic forms on screen, but the look would probably be confusing or disappointing to most.
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