Jackie Chan returns in the sequel to the film that made him famous (Drunken Master). Wong Fei-Hung (Chan) is a dutiful son who must do battle with thieves trying to smuggle priceless artifacts out of China. Fei-Hung uses his patented “Drunken Boxing” fighting style in which a swig of alcohol empowers him to kick some baddie butt. The final no-holds-barred fisticuffs in an old steel mill are mind-blowing.
Liu Chia – liang born July 28, 1936 in Guangzhou, Guangdong) is a famous Hong Kong martial arts filmmaker, choreographer, and actor.
He is best known for his movies which he made during the 1970s and 1980s for the Shaw Brothers Studio. One of his most famous films is The 36th Chamber of Shaolin which starred his martial brother, Lau Kar-fai, as well as Drunken Master II which starred Jackie Chan
Before becoming famous, Liu worked as an extra and choreographer on the black & white Wong Fei Hung movies. He teamed up with fellow Wong Fei Hung choreographer Tong Gaai on the 1963 Hu Peng wuxia picture South Dragon, North Phoenix. Their collaboration would continue on until the mid-1970s.
In the 1960s he became one of Shaw Brothers’ main choreographers and had a strong working relationship with director Chang Cheh, working on many of Chang’s movies as a choreographer (often alongside Tong Gaai) including The One-Armed Swordsman, as well as other Shaw Bros. wuxia pictures… read more
Hong Kong’s cheeky, lovable and best known film star endured many years of long, hard work and multiple injuries to establish international success via his early beginnings in Hong Kong’s manic martial arts cinema industry.
Jackie Chan was born “Kong-sang Chan” on Hong Kong’s famous Victoria Peak on April 7th, 1954 to Charles & Lee-Lee Chan, and the family emigrated to Canberra, Australia in early 1960. The young Jackie Chan was less than successful scholastically, so his father sent him back to Hong Kong to attend the rigorous China Drama Academy, one of the Peking Opera Schools. Chan excelled at acrobatics, singing and martial arts and eventually became a member of the “Seven Little Fortunes” performing troupe and began life long friendships with fellow martial artists / actors Sammo Hung Kam-Bo and Biao Yuen. Chan journeyed back and forth to visit his parents and work in Canberra, but eventually he made his way back to Hong Kong as his permanent home.
In the early… read more
Chan focuses so vigorously on technique here that it trumps subtext, wholly becoming the text. To not marvel at the pure physical grace of the performers here is to be blind. Pick any fight sequence, sit back, and watch in awe of the lightening speed of Chan in motion. Also, I for one find his drunk performing quite hilarious. Yet, for all of that, after trumping subtext with physicality, Chan still introduces real thematics in the form of anti-colonialist creeds (ignoring, of course, China's own moral failings. Chan is a nationalist, after all).