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Once Upon a Time in China IV
Movie

Once Upon a Time in China IV

1993 • Unknown

Woke Score
2
out of 10

Plot

Wong Fei Hung must deal with both foreign threats and the nationalist Red Lantern Society in this continuation of the popular kung fu series.

Overall Series Review

Once Upon a Time in China IV continues the saga of folk hero Wong Fei-hung as he navigates the tumultuous geopolitical landscape of 1900s Beijing. The central conflict pits him against two opposing threats: the imperialist Eight-Nation Alliance, mainly German and British forces, and the fanatical, all-female Red Lantern Society, a xenophobic Chinese cult. The narrative focuses on Wong's attempts to uphold Chinese national dignity in an international lion dance competition while also mediating escalating violence by protecting foreigners from the xenophobic cult. The film emphasizes the need for a principled approach to morality and nationalism, one that protects the defenseless, whether Chinese or foreign, rather than succumbing to extremism. Foreign powers are depicted as antagonists seeking to exploit China, but the film balances this by making a Chinese cult, the Red Lantern Society, an equally dangerous and destructive foe. The love interest, 14th Aunt May, is a traditional female role, and the all-female Red Lantern group is framed as a fundamentalist menace the hero must overcome.

Categorical Breakdown

Identity Politics5/10

The plot's central theme pits the Chinese hero against Western imperialist powers, particularly the German military, which are portrayed as 'dastardly foreigners' looking to undermine the nation's pride. Foreign military figures are shown to be corrupt and aggressive, which is a vilification of a largely white, Western 'out-group.' However, the film avoids intersectional hierarchy lecturing by having the Chinese hero fight against a *Chinese* xenophobic cult, intervening specifically to save innocent foreigners, which grounds the narrative in universal meritocracy of character over group identity.

Oikophobia2/10

The film champions Chinese national pride and sovereignty, with the protagonist taking on the challenge of the Eight-Nation Alliance to uphold his nation's honor. Wong Fei-hung's mission is fundamentally one of defending his home and heritage against external forces, directly opposing civilizational self-hatred. The only deconstruction is aimed at internal Chinese fanaticism, represented by the Red Lantern Society, not the heritage itself.

Feminism2/10

The main antagonists, the Red Lantern Society, are explicitly described as an all-female, 'feminist and xenophobic cult' led by the Holy Mother, whom the hero must defeat. This women-only group is portrayed as fanatic, destructive, and wrong, which is a direct subversion of the 'Girl Boss' trope. The hero's romantic interest, 14th Aunt, is a complementary figure with a crush on him, maintaining traditional male-female dynamics.

LGBTQ+1/10

The narrative follows a normative structure focusing on the martial artist's quest and a traditional male-female romantic relationship. There is no presence of alternative sexualities, gender ideology, or deconstruction of the nuclear family unit.

Anti-Theism2/10

The film features a Chinese xenophobic religious cult, the Red Lantern Society, as a major villain, showing a critique of religious fanaticism. However, a foreign Catholic priest is introduced as a positive, helpful figure who assists the protagonist's escape, indicating that the critique is not anti-theistic but anti-fanaticism. Objective moral truth is acknowledged through Wong Fei-hung's principled stand against violence and for the protection of all innocent life.