by Jack Ford
By the early 1970s, heroes of Japanese tokusatsu – in particular the formative Ultraman – had grown in popularity so much they had spread all over the Far East, including Hong Kong. It was there that their resonance with audiences caught Shaw Brothers' attention, who sought to emulate the genre in the hope of luring fans to their version of the popular medium. The result was “The Super Inframan”, (Known as “Chinese Superman” domestically) first released in 1975, a wacky, self-spoofing knockabout action film that is among the most entertaining and unforgettable titles of its type. It is clear, just looking at the character, that Ultraman is clearly on the radar of the Shaws, who left directing duties to Hua Shan. It is not clear whether the tone taken was also an intentional decision or the filmmakers went for a more parodying approach. Whatever the truth, the final product perfectly captures the spirit of over-the-top Asian action.
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Set in 2015 (Or a seventies version of 2015), the film opens with an earthquake caused by a giant flying lizard. Along with the many the earthquake itself leaves dead, also awakens the Demon Princess Elzebub (Terry Liu) after ten million years of dormancy. Now, from her lair under the surface of the planet, she gets back to the goal of conquering Earth, aided by servants in skeleton suits and a group of mutants and monsters.
Professor Liu of Science Headquarters (Literally, the headquarters where seemingly all science is performed) has a plan to combat the would-be conqueror of Earth: transform one of his science officers into solar-powered, weaponized, martial arts master of the title. Super Inframan himself (Danny Lee) is not only a capable fighter, but can also fire rockets from his torso, can create a shield made of light and detach his fists to deliver a punch from long distance. These all come in handy as he comes up against the many monsters loyal to Elzebub, who include one with laser horns and another with a drill and hammer for hands who gets around using a speedboat. Having seen Inframan easily dispatch her minions, the Demon Princess decides to kidnap Professor Liu and his family in order to force him to make Inframen of her own. This leads to the barmiest fight scene of the whole film as she and Inframan face off for the fate of the world.
At just 85 minutes in length, “Super Inframan” is efficient in delivering action. The fight scenes are choreographed as well as anything the Shaw Brothers had done before, even with the performers in bulky and restrictive costumes. So brisk is the running time, with plenty of fights packed in, there is hardly a dull patch.
Also getting in on the fun is composer Frankie Chan, whose main theme suitably sets up the giddiness and spoof grandeur that is to come. For non-Cantonese speakers, a lot of enjoyment comes in from the English dub. The bastardized version of the dialogue fits in with the camp tone of the events on-screen, with such examples: “Do as I say or you will be dropped into the bottomless pit” and the exchange: “Don't you think I can be Infra-Girl?” “You might not like it.”
“Super Inframan” can also serve as an antidote to the many serious and over-dramatic modern-day superhero films. In an age where every on-screen costumed crusader is bleak in tone and the characters are deep-rooted complexities, it is refreshing to see an entry in the genre revelling in its simpler and knowingly cartoonish antics. There really is no other film like “Super Inframan”. It is unashamedly camp, nonsensical slice of pure entertainment, unique and unmistakable for anything else. Fortunately, it is widely available on a number of platforms, ready for anyone who hasn't already to enjoy. A warning however: If you can't find joy in seeing a man in a red plastic suit high-kicking an anthropomorphic weed into electricity pylons, there may sadly be no hope for you
