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Since the 1980s, China’s stratospheric economic rise has lifted millions out of poverty and into the global middle class. This, among many other things, has led to Chinese moviegoers on pace to comprise the biggest market for film consumption by 2019. As globalization continues to work its familiar magic, many American corporations – ranging from the National Basketball Association to Facebook – have made accommodations to their business model in an attempt to reach Chinese consumers. HBO, with its release of “Master of the Drunken Fist: Beggar So” and “Master of the Shadowless Kick: Wong Kei-Ying”, is the latest of these companies to attempt a foray into the lucrative Chinese market.
While initially viewing these two films, I made a major mistake: I looked at them from a Westerner’s perspective. This was, perhaps, unavoidable. After all, there is only so much one can do to remove their ethnocentric biases. These films are not targeted at a Western audience, however; they are targeted at a Chinese one, whose tastes and preferences are sure to be different. I was also wary of these pictures following in the footsteps of John Wayne’s “spaghetti Westerns” or 1970s-era blaxploitation flicks. The cultural chasm between East and West is large, and predominantly white entertainment decision-makers don’t exactly have an encouraging history of sensitivity towards nonwhite stories. That being said, HBO did well to partner with co-producer China Central Television, and while both of these films contain a tremendous amount of martial arts tropes, neither of them felt exploitative.
Both “Drunken First” and “Shadowless Kick” have plots structured around the use of kung-fu in particularly tumultuous periods of Chinese history. The former takes place in the Imperial period following the ascension of a child emperor to the throne, and the latter is set during the 19th century Opium Wars wherein China was subjugated by foreign colonial powers. The juxtaposition between the two time periods is fascinating. In “Drunken First,” the Chinese are a proud people at the height of their civilization’s power; in “Shadowless Kick,” the destructive effects of rampant opium abuse and crime are evident. The thematic elements, though, remain the same: the protagonist is affected by events beyond his control, uses martial arts to remedy the situation.
“Drunken Fist” tells the story of So Chan, the pretentious son of a wealthy family who finds himself caught up in the machinations of Imperial politics. As a result of both his foolish decisions and the manipulations of powerful courtiers, he loses his powerful status and is reduced to cavorting with the “Beggar Sect,” a group of beggars who are also expert fighters. So Chan – or “Beggar So” as he becomes known – becomes a pupil of the leader of the sect who is an expert in a martial arts style called “drunken fist.” This particular style apparently involves consuming copious amounts of wine to achieve a Zen-like state that dulls pain and permits a free-flowing attack. So, in short, it’s basically the greatest form of self-defense that humankind has ever developed.
“Shadowless Kick” examines several characters, including an eminently likable physician, and how their lives are affected by the opium trade. The unassuming physician, Wong Kei-Ying, uses martial arts to fight the corrupt governor of the city of Canton. The contrast to “Drunken Fist” is stark. This is no longer the ornate, powerful China of imperial days, but rather one that has been adversely affected by the Industrial Revolution and colonialism.
The setting is essentially the only aspect in which these two films differ. Both feature exciting, if a bit overly-dramatic, fight scenes. Many of the customs portrayed will probably be confusing to Western viewers, but “Drunken First” and “Shadowless Kick” are both interesting case studies in cultural differences if nothing else. The acting is somewhat overwrought while still managing to be charming. The set design and costumes, however, are where both of these productions hit their stride. Clearly intricately designed, they seem historically accurate, though I have no way of confirming this. When either story begins to lag – and they both do this – viewers can enjoy the attention that was paid to detail.
It is difficult to talk about one film without invoking the other, and that is ultimately the downfall of both. They are far too formulaic, and the subtitled dialogue is awkward in a way that indicates that something – or maybe a lot of things – were lost in translation. The fight scenes are all well-choreographed, but start to seem repetitive and increasingly random. Is everyone in China an expert martial artist? That would seem to be what this film indicates. There is nothing that adds substance to what is a hackneyed and dated genre. Despite this, “Drunken Fist” and “Shadowless Kick” have enough redeeming qualities to avoid slipping entirely into campiness. That being said, you are probably fine with just watching one and never seeing the other. Personally, I’d recommend “Drunken Fist” – who can’t get behind a fighting style built on a foundation of public intoxication?
Both movies will be available on Blu-ray & DVD Tuesday, August 8th
