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 (Siu Tin Yuen), a Master of drunken martial arts.
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A year after training young Jackie Chan in the Drunken Fist, Sam the Seed discovers he has a son, Foggy. He tries to train Foggy but to no avail. Foggy is then trained in Drunken Fist from ... See full summary »
The Hong Kong police are hunting a counterfeiting gang led by a mastermind code-named "Painter". In order to crack the true identity of him, the police recruits gang member Lee Man to unmask "Painter's" secret identity.
Beggar So is trying to train brother and sister team Chung and Gam Fa, with mixed results! But an enemy from Beggar So's past, Grasshopper Bill Chan and his brother Cougar start causing ... See full summary »
Set around the turn of the century in China, the White Lotus Society plots to put the next Emperor on the throne. To do this they want their protege to marry the Princess Sun Yu who possesses an important jade ring. They dispatch Yueng Kwan to fetch her. However, Yueng Kwan is a patriot, working for the revolutionary forces of Sun Yat Sen. He abducts Sun Yu and finds refuge with the father of the future hero Wong Fei Hung.Written by
Brian Rawnsley <firstname.lastname@example.org>
Liu Chia-Liang, once the best and most careful of 'fu film directors, apparently made this film as a way of getting back at Jackie Chan for kicking him off the Drunken Master II (aka Legend of) project. I therefore expected DMIII to be the film that Liu intended to make with DMII that Chan would not allow him to complete.
Instead, what I get is a wildly unfocused post-modern parody of contemporary martial arts films, from Tsui Hark's Once Upon a Time in China to the commonplace crime thrillers that flooded Hong Kong screens after the success of A Better Tomorrow.
What in heaven's name is going on here? I have a high tolerance for post-modern experimentation in cinema, and for parody as well. What I lack is the willingness to surrender good taste to either of these.
It is quite clear that Liu holds much of the Hong Kong New Wave in contempt; but this era in Hong Kong would certainly have allowed him to make a more traditional exploration of the cultural problems presented in DMIII, especially since he had never lost the respect of either the older or the newer generations of filmmakers and film audiences. In other words, he could have done anything he wanted to with this film. It wholly inconceivable that he would throw away this opportunity in order to whine about Hong Kong cinema growing too corrupt to make a better film. But that's all this film amounts to.
Some good fight scenes; but even some of these are unnecessarily confusing.
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