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The Shaolin Chief Cook (1981)
Near the Abrok river bordering Korea and China, both Chinese citizens of the Qing dynasty and Chosun immigrants live together peacefully. When Yeon Ching-su of the Wol-gwan martial arts sect, a Korean, is killed in a fight against Pang of the Qing's Pacheon sect, his student Jin Ho-rim goes into the mountains to train in the art of Gol-gwon fighting skills with Master Gol-bo. He masters the Gol-gwon skills and descends to find Pang. Pang sends his henchman who is easily beaten by Ho-rim and Pang resorts to kidnapping Master Gol-bo's daughter Chu-hwa. When Ho-rim fails to rescue Chu-hwa, he challenges Pang to a fight to the finish. When Ho-rim is cornered by Pang, Master Gol-bo appears and teaches Ho-rim the secret skill of Gol-gwon and he succeeds in beating Pang. - KMDB
Near the Abrok river bordering Korea and China, both Chinese citizens of the Qing dynasty and Chosun immigrants live together peacefully. When Yeon Ching-su of the Wol-gwan martial arts sect, a Korean, is killed in a fight against Pang of the Qing's Pacheon sect, his student Jin Ho-rim goes into the mountains to train in the art of Gol-gwon fighting skills with Master Gol-bo. He masters the Gol-gwon skills and descends to find Pang. Pang sends his henchman who is easily beaten by Ho-rim and Pang resorts to kidnapping Master Gol-bo's daughter Chu-hwa. When Ho-rim fails to rescue Chu-hwa, he challenges Pang to a fight to the finish. When Ho-rim is cornered by Pang, Master Gol-bo appears and teaches Ho-rim the secret skill of Gol-gwon and he succeeds in beating Pang. - KMDB
The film's central themes of martial arts discipline, culinary skill, and individual mastery, set within a traditional context, are largely apolitical. It does not explicitly promote or critique specific political ideologies, focusing instead on universal concepts of skill, honor, and personal achievement.
The movie features a cast appropriate to its East Asian setting, without explicit race or gender swaps of traditionally white roles. Its narrative does not critically portray traditional identities or center explicit DEI themes.
The film portrays the Shaolin temple and its monks with respect, emphasizing their discipline, martial arts prowess, and adherence to a moral code rooted in Buddhist principles. The narrative aligns with the virtues and dignity of the faith, presenting it as a source of strength and justice.
The film 'The Shaolin Chief Cook' does not feature any identifiable LGBTQ+ characters or themes. Its narrative focuses on martial arts, revenge, and historical events without incorporating queer identities or experiences.
The film "The Shaolin Chief Cook" does not feature any identifiable transsexual characters or themes. The narrative focuses on martial arts and cooking, with no elements related to gender identity or transition, leading to a determination of N/A for its portrayal.
The film primarily focuses on male characters engaging in martial arts combat. No significant female characters are depicted winning close-quarters physical fights against one or more male opponents.
This 1981 film is an original martial arts production, not an adaptation of pre-existing material with established characters. All characters are new to this film, thus precluding any gender swaps from prior canon.
This 1981 martial arts film does not appear to be an adaptation of prior source material with established character races, nor does it depict historical figures. Therefore, no characters were canonically established as a different race before this film's production.
Combines user and critic ratings from four sources























