Pearl Cheung Ling starts out Miraculous Flower in a role that she had pretty much trademarked by that point in her career: that of the ragged kung fu vagabond. Truly, if Chaplin earned the nickname “The Little Tramp” in silent era Hollywood, Pearl was just as deserving of it in the world of 1980s martial arts cinema. In this case she even has a mournful song, sung by Pearl herself, playing on the soundtrack to underscore her debased condition, lamenting the fact that she is doomed to wander the Earth alone -- with no direction home, one could say, and like a complete unknown, although that would be another song entirely. Of course, as is not uncommon in Pearl’s films, her character will go through a transformation over the course of Miraculous Flower, a sort of blossoming of identity that makes the film’s title that much more apropos.
Wolf Devil Woman -- the first being 1982’s Matching Escort, which, despite being made after Miraculous Flower, was rechristened Wolf Devil Woman II, while Miraculous Flower became known in some circles as Wolf Devil Woman III. It must be said, however, that Miraculous Flower differs from both of those films in a couple of important ways -- and that’s putting aside the fact that it’s a standalone film that in no way continues the story of either. First and foremost is the fact that, unlike WDW and Matching Escort, it was not directed by Pearl herself, but by Fong Ho, a director about whom there appears to be little information on the English language Internet. Pearl is, on the other hand, credited with coming up with the film’s story, though the actual script was written by none other than Godfrey “Ninja Terminator” Ho. Secondly, while not free of the oddball fantasy elements that make Pearl’s most well known films so endearing, it is nonetheless a somewhat more sober affair, as well as a somewhat less rough hewn one.