Long before Jacky Chan penetrated the Hollywood scene, my brother and I were already big fans of his movies. You see, 80's kids like me subsisted on a viewing diet of Kung Fu and Shaolin flicks, some of us would even travel all the way to Cagayan de Oro from our base in Bukidnon to watch poorly-dubbed martial movies in dank, decrepit movie houses. So pathetic was our desire to watch high-flying kick-ass movies that every Sunday morning we'd sit in front of the TV set to watch Chinese movies in period costumes (no subtitles), hoping to get a glimpse some real Shaolin action. Unfortunately, we'd end up dozing off instead from not understanding a single word of the kung-fu less Mandarin dialogues.
With the advent of the--gasp!--betamax, betacord, VHS, we devoured every single Bruce Lee and Jacky Chan movie. To this day I can still name some of the titles: "Snake in the Eagle's Shadow,", "Fist of Fury," and "Drunken Master". Bruce Lee's technique conveyed realism (I imagine the actors and extras bloodied and beaten up) and his character was the heroic type almost Robinhood-like, while Jacky Chan combined acrobatics and comedy.
Almost always, the plots were similar: the main character seeks revenge for (1) a shaolin master killed by someone from a rival school; or (2) a close friend, family member killed. Also, it always involved showcasing which martial arts style is superior ("Huh! I've never seen that style before, where did you learn that?"/ "It's called centipede style, and it's meant for you...*%#@!*&). Almost always, foreigners--especially the Japanese, which only goes to show the long-standing enmity between the two cultures, were depicted in an unflattering manner.
With the advent of the--gasp!--betamax, betacord, VHS, we devoured every single Bruce Lee and Jacky Chan movie. To this day I can still name some of the titles: "Snake in the Eagle's Shadow,", "Fist of Fury," and "Drunken Master". Bruce Lee's technique conveyed realism (I imagine the actors and extras bloodied and beaten up) and his character was the heroic type almost Robinhood-like, while Jacky Chan combined acrobatics and comedy.
Almost always, the plots were similar: the main character seeks revenge for (1) a shaolin master killed by someone from a rival school; or (2) a close friend, family member killed. Also, it always involved showcasing which martial arts style is superior ("Huh! I've never seen that style before, where did you learn that?"/ "It's called centipede style, and it's meant for you...*%#@!*&). Almost always, foreigners--especially the Japanese, which only goes to show the long-standing enmity between the two cultures, were depicted in an unflattering manner.
Put in the right context, a kung fu/shaolin movie is the Chinese equivalent of a Disney movie in Hollywood. Kicking ass in mid-air, walking upside down on a ceiling and jumping on rooftops--all of these defy gravity.
I outgrew my fascination for martial arts flicks when I stepped into high school. I think it was due to sensory overload. With recyled plots and long stretches of stunts and fight scenes at the slighest hint of provocation, I began to get bored.
Or more precisely, I grew up, trading Kung Fu for the steamy HBO midnight movies. But let's save that for another blog, yah?
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