The Dragon King goes to Heaven and petitions the Celestial Emperor for the return of the pillar and to punish Wukong. The Dragon King, not expecting Wukong to actually be able to take the great treasure, demands it back, but Wukong rebukes him, saying that the king should not have offered it if he did not want it taken, then returns to his kingdom. The pillar is in fact the As-you-will Cudgel, a magical staff weighing eight tons that can change size and Sun Wukong happily takes the weapon. The Dragon King then takes him to a great pillar which was used by the gods to pin down the sea during the great floods. The Dragon King, amused by the arrogance, orders his soldiers to bring progressively heavier weapons, but Wukong dismisses them all as being too light and flimsy. Wukong then dives into the sea and travels to the Dragon King's palace where he asks for a neighborly gift of a weapon. Annoyed at being unable to find a suitable weapon for himself, Wukong follows an old monkey's suggestion to visit the Dragon King of the Eastern Sea for a possible weapon. Delighted with their martial prowess, he decides to put on a display himself but accidentally breaks his royal sword. ( August 2015) ( Learn how and when to remove this template message)Īfter a brief prologue showing Sun Wukong being born out of a rock, the first act begins on the Flower and Fruit Mountain with Wukong watching a military parade by his subjects. Unsourced material may be challenged and removed. Please help improve this article by adding citations to reliable sources. This section needs additional citations for verification. A year later, the entire industry was effectively shut down by the Cultural Revolution. This was the last major animated film of the Second Golden Era of Cinema of China. Both parts of the film were screened together for the first time in 1965.
The second part was completed in 1964 with the assistance of Wan Chaochen and Wan Dihuan. The first part of the film was completed in 1961 by Wan Laiming and Wan Guchan. Wan Laiming returned to Shanghai as director of Shanghai Animation Film Studio in 1954, and production of Havoc in Heaven resumed shortly thereafter.
However, the project was delayed for over a decade after the Japanese capture of Shanghai during the Second Sino-Japanese War, and later by the Chinese Civil War. Wan Guchan, of the Wan Brothers and one of the animators of the feature film Princess Iron Fan, began planning the production of Havoc in Heaven after its release in 1941.
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