A young fighter named Kham must go to Australia to retrieve his stolen elephant. With the help of a Thai-born Australian detective, Kham must take on all comers, including a gang led by an evil woman and her two deadly bodyguards.
Chein is a city boy who moves with his cousins to work at a ice factory. He does this with a family promise never to get involved in any fight. However, when members of his family begin disappearing after meeting the management of the factor, the resulting mystery and pressures forces him to break that vow and take on the villainy of the Big Boss. Written by
Kenneth Chisholm <email@example.com>
The international (English) title of this film was "The Big Boss". In the United States the English dubbed version was originally to be released under the title "The Chinese Connection", a play on the title of the highly popular film The French Connection (1971). For some reason the title was changed to "Fists of Fury". As a result, to avoid confusion with Bruce Lee's following film The Chinese Connection (1972) (known elsewhere in the world as "Fist of Fury"), the latter film's title for its U.S. release became first "The Iron Hand" and then "The Chinese Connection". See more »
When Chao-an and "The Boss" face off, when "The Boss" pulls out his knives for attack, he slashes Chao-an once across the stomach, and once across the back. However, when slashing at his back, a sound effect implies that he misses, when a scar can be seen on his back seconds later. See more »
Uncle, is this it?
Yes, right over there. That's the town, Cheng. That's right. Not much further to go.
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Crude and uneven, but the first Lee-starring film still has a certain power
The first of the four Bruce Lee starring movies[ well, five, if you count Game Of Death]is technically the weakest. However, it's easy to see how it caused such a stir. Unlike most martial arts movies of the time, the film was set in the present day and attempted things like characterisation and even realism. These touches sometimes seem crude and even laughable now [for instance, check out the scene when the other workers of the factory are waiting for Lee to return, with it's exaggurated 'passing the time' actions]but when the film came out, it was a major step forward.
Even more daringly, the film has less fighting, with the fights being structured around the plot rather than the other way round, and bravest of all, the star of the film does not go into action into half way through. Instead, it cleverly builds suspense by having Lee as a guy who has sworn not to fight, and when he eventually cuts loose the result is exhilarating. However, it's obvious that none of Lee's opponents are a match for him and only the sequence when he battles a group of heavies in and around an ice factory really stands out. The clumsiness of much of the action [Lee was only allowed to choreograph the ice factory scene]is almost redeemed by the huge amount of gore and brutality.
Despite it's shoddy aspects, the film does have an odd power,especially towards the end. Lee's character is a very flawed hero who for a while badly strays from goodness and there is a sense that killing all the bad guys will not bring him redemption. In all three of Lee's Hong Kong films, violence never really solves things, it just makes things worse. Maybe that is why Lee's dated, sometimes awkward films are still watched again and again while many other films of the same time and genre have faded into obscurity. Well, that and Lee.
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