Wong Fei-Hung (Jackie Chan) is a mischievous, yet righteous young man, but after a series of incidents, his frustrated father has him disciplined by Beggar So (Yuen Siu-Tien), a master of drunken martial arts.
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Returning home with his father after a shopping expedition, Wong Fei-Hong is unwittingly caught up in the battle between foreigners who wish to export ancient Chinese artifacts and loyalists who don't want the pieces to leave the country. Fei-Hong has learned a style of fighting called "Drunken Boxing", which makes him a dangerous person to cross. Unfortunately, his father is opposed to his engaging in any kind of fighting, let alone drunken boxing. Consequently, Fei-Hong not only has to fight against the foreigners, but he must overcome his father's antagonism as well. Written by
Murray Chapman <firstname.lastname@example.org>
Director Chia-Liang Liu and star Jackie Chan clashed often during filming. Among their disagreements, Liu had a particular style of filming which involved quick tracking shots, slow-motion and the use of wide-angle lenses to play with perspective, which Chan didn't appreciate, Liu wanted to have more of the realistic Huen-Gar style of fighting whereas Chan felt the fans wanted more of the drunken style and Liu wanted to use wires during the fight scenes, which Chan was categorically opposed to. Liu eventually left the film, with Chan taking over as director for the final fight scene. See more »
When Fei-Hung's mother offers something to the customer who ordered the ginseng his father says "What are you doing with that rutabaga?". That was not a rutabaga. It was in-fact a daikon radish. A type of white radish used in Asian cooking. See more »
This film is all the more fantastic because it is, however loosely, based on fact. Chan is in one of his finest roles as Chinese hero Wong Fei Hung, fighting foreigners who wish to take artefacts out of China during the Ching dynasty.
An appreciation of turn-of-the-century China does help, but even without it, the film remains incredibly entertaining. The kung-fu choreography is interwoven with a well-written story which should instil pride in any Chinese moviegoer.
Even Chan's acting is excellent, as the young Wong Fei Hung who develops his "drunken boxing" style - a type of kung-fu which is aided by the consumption of alcohol. However, his father forbids his son's drinking, fearing that he will not know when to stop. His stepmother is encouraging, hoping to put her stepson on the map in the local community. The rapport between the characters is superb and realistically acted by the players. The martial arts' choreography here is among the best in any film.
Of Chan's movies set in an earlier time period, Jui Kuen II must rank as his best. An excellent example of the genre.
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