Sylvester Stallone’s “action film” Production Company, Balboa Productions, is enlisting martial arts star Iko Uwais (The Raid 2, Triple Threat, Mile 22,Headshot) for The Bellhop.
Not much is known about the film’s plot, but if its title is any indication, we’re thinking Uwais will play an ass-kicking hotel attendant (Four Rooms meets The Raid?).
The company, which was formed in 2018 with producer Braden Aftergood (Hell or High Water), has a number of films in-the-works, including an an English-language remake of Lee Won-Tae’s The Gangster, the Cop, the Devil, as well as a biopic on Jack Johnson, the first African-American heavyweight champion.
We’ll keep you updated as we learn more (via Variety/FCS). For now, here’s the Trailer for Uwais’ soon-to-be-release Netflix series, Wu Assassins:
At the age of 14, I took the plunge in to the world of my favourite director, John Woo. The adrenalin rush seemed to last for days after watching the best pure action film ever made: Hard Boiled. The unending coolness of Chow Yun Fat and emotional depth of Tony Leung leapt off the screen, and both are on my list of Top 10 Actors. The villainous actor made less of an impression, however, and he has said he doesn’t like the film.
Then I saw Beast Cops. Then I saw Exiled. Then I saw Bunman. Then I saw Ebola Syndrome. Anthony Wong was made for the latter golden age of Hong Kong cinema; name me an actor who personifies the 90’s style more than him? – I dare you. Disregarding the martial arts genre, Wong stamped his incredible individual style on countless classics, even winning the Hong Kong film award for best actor in ’93 for Bunman. Only in Hong Kong at the time could this happen; the film is one of the most extreme I’ve ever seen, and Wong manages to look constantly psychotic throughout.
Author Martin Sandison and Anthony Wong at The Udine Far East Film Festival
When it was announced that he would be attending Udine Far East Film Festival, I was ecstatic. Despite a reputation as being a little hard to interview, everyone attests to how genuine, nice and accommodating he is. Previous to the interview section at the end of this piece, I was in a ‘drinks party’ at the festival, and noticed him there. I jumped at the chance, and asked him to sign my Bunman DVD, already signed by director Herman Yau two years ago. Wong was lovely, and I talked a little about his feature debut My Name Ain’t Suzie, that had been screened the previous day. He joked “Oh, that was my son, my son”, as he looks so young and fresh faced in the role.
This spirit of humour and humbleness extended throughout the time I was in his company, and he walked past me after his new film Still Human won the Audience Award, looking so genuinely happy and giddy. With the recent protests in Hong Kong he has raised his voice again to support democracy, the only Hong Kong actor from the golden age to do so; this authenticity makes me even more proud to have met and interviewed him, at the same time sad and scared about the place of my dreams and its future. Whatever happens, Anthony Wong will continue to make challenging, vital films.
In the following interview with Anthony Wong, Martin Sandison is joined by Matija Tomic, Tim Youngs, Sabrina Baracetti and an un-named journalist.
“My Name Ain’t Suzie” Chinese DVD Cover
Tim Youngs: So My Name Ain’t Suzie was your first film. You had been in TV for about three years before. I know you auditioned for the film, what was the experience like auditioning and then acting in the film?
Anthony Wong: If I speak in Cantonese it will be more clear and more interesting. (laughter) I saw the advertisement in the newspaper. Reading the description I thought it was the best feature for me. So I spoke to my friend Herman Yau. He told me one of the assistant directors was his friend, so he made the contact for me, and I went to the audition. There were lots of models, pretty ladies (laughter), no, I mean male models. (laughter) I was a little scared, worried. One of the guys there was Max Mok, he was very tall, handsome, masculine, very attractive (laughter). But the thing was, he wasn’t mixed race. Looking at him, I thought: “I could be qualified too”. My features were more prominent at that time, being mixed race. Because I’m not such a typical handsome boy, I thought: “maybe my acting will win them over”. So after that I only had one chance, I went home and waited. I waited a long, long time. As it was so long, I asked Herman to make a phone call for me. He said his friend wasn’t involved in the project any more. He sneaked around and found some news for me. So thought that I found out the director Angie Chen was the one who really liked my audition. So there were a lot of foreigners playing the sailors. They blocked a whole street in Wan Chai, and made it look like the 50’s. Many girls dressed like prostitutes, but they were all very pretty. Everyone was speaking English, and I didn’t speak one word of English at the time. The only line I had to say in English was: “you know this guy?”, and “good money”. So my first screen kiss was in the movie, I had two bottles of beer, but I was still very intimidated. Actually Angie was very nice and did not force me or pressure me to do anything. But Patricia Ha forced the kiss on me! I was very happy and learned a lot through this experience. My role in the film was I had been abandoned as a child, my father had gone back to America, and I was fatherless, and I grew up in Wan Chai. In reality, I also grew up in the Wan Chai area, and didn’t know my real father, who was English. So finally after all these years I reconnected with my family in England, my relatives. They all live in Australia. I found my fathers grave and paid my respects. So the role I played in this movie is like my real life.
TY: We’re here celebrating your career, you will receive the Golden Mulberry Lifetime Achievement award. After you made this first film you went to study acting at the Academy For Performing Arts. Did the experience making this film influence how you went forward as an actor?
Anthony Wong: After making this movie I realised I knew nothing about acting. After many years I watched this film again, I realised why the director Angie chose me, because I didn’t know how to act! (laughter). If I played this role again today, I wouldn’t be able to do it right. In the cinematic world, actors were only a tool to make the movie. In the balance of this world, the actors actually do directing too. So I went to the Academy to study acting because I wanted to be a director.
“Ip Man: The Final Battle” Theatrical Poster
Journalist: I know you studied kung fu, how was did that help your acting? How did that help with your role as Ip Man?
Anthony Wong: It helped NOTHING with Ip Man! (laughter) The style I studied is a totally different style. I had to learn Wing Chun from the very beginning. In terms of my career, it helped me to move faster! (laughter) For instance on set the countdown to an explosion..3..2..1! I can jump, before they count to one (laughter)
Journalist: I know you worked with my friend Bey Logan on The Medallion, how was that?
Anthony Wong: (very sarcastically) Oh, Master Bey. Oh…he’s a funny guy. Very hilarious. Tell him to call me. He’s your friend? Good guy. On The Medallion? There was a lot of waiting around.
Sabrina Baracetti: When was the last time you watched My Name Ain’t Suzie?
Anthony Wong: I’ve seen the film many times. I bought the DVD. It’s been more than ten years. I didn’t want to watch it, because I didn’t want to see myself as so handsome! (laughter)
Journalist: I want to know about your views on the political situation in Hong Kong now, and civil rights there.
Anthony Wong: So five years ago there was a mix up in the media, I thought they had a mix up between me and the activist Anthony Wong. The destiny of the other Anthony Wong is that he is on the list. Somebody told me I’m not on the list. Actually I don’t know what is happening, but I do know that my job is kind of banned by the Government. Maybe it’s time for me to retire and move to Italy!
Journalist: I heard you don’t want to make horror movies any more. Is this true, and why?
“Still Human” Theatrical Poster
Anthony Wong: Because I’m ageing! (laughter) When people are young, they have a kind of anger, power in the heart. When you get older, you don’t have that any more. I don’t want to do horror movies anymore. It’s time to try something new.
TY: Concerning the film Still Human, what appealed to you about the script?
Anthony Wong: Well actually I can’t remember. The director is pretty (laughter) and decent. I liked the story. In my opinion Hong Kong cinema has been missing a film wherein the main character is from the Phillipines or India. So when I received the script, and my costar would be from the Philippines, and her character was not portrayed negatively, this was the main reason I picked up the script.
TY: Did you do some research in to wheelchair users in preparation for the film?
Anthony Wong: Before my mum passed away, the last ten years of her life, she was in a similar situation to the character who I play, Cheong Wing. She was in a wheelchair, she was not mobile, she was sick. I took care of her for those ten years, so I familiarised myself with the situation, and I learned a lot. In terms of the behaviour, the way of communication, I picked up a lot from one of my friends. This is a guy who is blue collar, and speaks in this manner, a local dialect. The director of this film also wrote the script, so she has a very clear vision. So as an actor, I just followed her lead, and delivered what she wanted. The execution and implementation was not difficult.
TY: Still Human was made by a first time director. Is working with new talent something you want to do?
Anthony Wong: I don’t think they are new at all! They are all so experienced already! She (Oliver Chan) has already mastered a lot of technical aspects of film-making. And Krisel Consunji (his co-star) has been acting and performing since she was ten years old. I feel like I’m working with some con-artist. (laughter) she is so good!
TY: Is the industry in Hong Kong supporting new talent well?
Anthony Wong and Tony Leung in Hard Boiled.
Anthony Wong: I actually said to those in the funding department in the Government that 3 million Hong Kong dollars can not make a good movie. I guess everyone is doing the work without worrying about getting paid. So there were changes, and they raised it to 5 million. We have all noticed the industry has changed a lot. In the past Hong Kong produced over 300 movies a year. Now there are around 20 films a year made by new film makers. There are a lot of political reasons for this. There are a lot of challenges to make movies. There are still a group of passionate, brave young film-makers who are tackling issues they are passionate about. Not necessarily political topics, just stories they want to tell. This is very admirable. In Hong Kong right now there are certain things that are ridiculous. You could be criticised just for eating Italian pasta.
Sabrina Baracetti: When you think about your career and all of the films you made, what is your feeling about it?
“The Mission” Chinese Theatrical Poster
Anthony Wong: There’s a lot of complex feelings. In the past a lot of my projects are big budget, a lot of experienced film makers involved, and many people working on one project. I felt like I was really in the movie industry, it’s very glamorous, a big spectacle, big productions. Except some of the stories are not that spectacular, they are boring. If we made Still Human in the old days, Krisel’s character would be played a very famous actor, with her skin coloured darker to become a Filipino maid. Most likely I wouldn’t be cast. Maybe they will cast Andy Lau. (laughter) And in the end Krisel’s character and mine would get married! (laughter)
Journalist: Could you elaborate more on why you chose to make this film without getting paid?
Anthony Wong: Because the director only had 3 million dollars, she couldn’t afford me! I couldn’t lower my fee. So if the movie made some money I get some profit-sharing! (laughter)
Journalist: Of your films is there one you are more attached to? One which you like watching again and you feel a personal connection to?
Anthony Wong: This is the most recent one, but I really like Still Human. Otherwise, Exiled.
TY: What’s your next project?
Anthony Wong: It will be a theatre production.
Journalist: What do you think about the story of Still Human? Does it show a different side of Hong Kong? What do you think of the lack of diversity in Hong Kong cinema?
Anthony Wong: I think there should be more films made like this. Hong Kong is an international city, and it seems like there have been few stories like this one. Maybe next time someone should make a movie about the Indian population in Hong Kong. That would be interesting. Like a Bollywood-type thing.
“Exiled” U.S. DVD Cover
Adriana Rosati: What challenges did you have shooting Still Human?
Anthony Wong: Nothing. It was easy for me. We don’t have to work overnight, which is a nightmare. I didn’t have to do wirework! (laughter) We had a beautiful director and a gorgeous actress! For me it was very easy.
Matija Tomic: Could you talk about where you studied kung fu and which style, and for how long?
Anthony Wong: When I was very young, I shared a flat in Hong Kong with a lot of people, even with my sifu. When I was growing up I went to my sifu and learned Ba Gua, a Shaolin style. I also learned Karate and Tai Chi. Of course I learned Wing Chun for the Ip Man movie. In Hong Kong, and also Guangzhou. There’s a master there called Wong Lim Yee, he’s very good, I studied Wing Chun with him.
MT: You seem to like improvising on set. Is the scene In Johnnie To’s The Mission when you play football with a little paper ball, is that improvised?
Anthony Wong: First of all…there’s no script! (laughter) Second, Johnnie To asked us to play with the paper ball. It was not improvisation. You can never do any improvisation in Johnnie To’s films. (laughter) You will get killed. (laughter)
Martin Sandison: You seem to like acting in serious roles as much as comedic ones. Which do you prefer?
Anthony Wong: I’m a serious guy. But I’m funny. (laughter) Sometimes I act in the wrong way!
Journalist: Apart from film you’ve done a lot of different things recently…
Anthony Wong: You mean like political…(laughter)
“The Untold Story” Japanese Theatrical Poster
Journalist: You have done a lot of other acting, like drama and theatre. Maybe because of you being outspoken about China. It means you’ve had to go elsewhere. Do you think other Hong Kong actors should expand like you have?
Anthony Wong: They don’t. They don’t have to. Because they earn a lot of money in China. If I got the opportunity to work in China, I won’t…What’s the point for others to do theatre? They make no money. In China, you get money. You get rich. Then you get in trouble. (laughter) My next role is in a Broadway play called A Normal Heart. Only a small part, it’s good for me.
MT: If you had the opportunity to make a martial arts film would you do it again?
Anthony Wong: You would have to give me two years to prepare!
MS: What do you think of the future of Hong Kong action cinema?
Anthony Wong: You have to ask the young generation. I think it will be totally different from the past. How to tell the story, the style, how to fight. The future is all in their hands.
The following feature is about the many actors who have portrayed Bruce Lee in movies, TV and advertisements. In an effort to put together the most comprehensive list, I’ve also included those who portrayed him in ways that I can’t explain. It should also be noted that the term “biopics” should be taken lightly, as ALL biopics listed are extremely sensationalized. Yes, even the ones endorsed, produced and blessed by The Bruce Lee Estate (controlled by Bruce Lee’s daughter, Shannon).
Keep in mind this is NOT a Bruceploitation article; in other words, you won’t see Dragon Lee (aka Moon Kyoung-seok) on the list – why? – well, despite capturing the essence of Bruce Lee (his image, mannerisms, Cheshire Cat-smile, clothes, etc), he never actually played Bruce Lee, unless you count The Clones of Bruce Lee, which is where I draw the line (“clones” being the key word; but Bruce Lee “ghosts” are accepted).
This article is not meant to review or rate any of the titles or performances, but that’s not to say I won’t go off track with some criticism here and there.
Enough chit chat. Let’s not keep our Bruces waiting…
Mike Moh
MIKE MOH
We’ll start the list off with Mike Moh, the newest actor to portray Bruce Lee in a “Hollywood” movie (literally!). This Atlanta-based martial artist earned his fifth-degree Taekwondo Black Belt when he was 14, so he definitely has all the right kicks.
In 2006, Moh landed a bit part in Benny Chan’s Rob-B-Hood, where he shared the screen with his idol, Jackie Chan. But it was perhaps his role as Ryu in the Street Fighter: Assassin’s Fist web series (based on the popular video game) that put him on the map. Since then, he has appeared in a number of high-profile TV shows, including Marvel’s Inhumans as Triton, as well as a recurring character in Fox’s hit drama, Empire.
Moh portrayed Bruce Lee in Quentin Tarantino’s 2019 epic, Once Upon a Time in Hollywood, opposite Brad Pitt and Leonardo DiCaprio. So what is “Bruce” doing in the film? Here’s the facts: In the late 1960s, Bruce was a rising talent within an inner circle of Hollywood friends that included Sharon Tate, Jay Sebring, Roman Polanski and Steve Mcqueen. It was during this time that Bruce marketed his martial arts skills to mentor stars, choreograph films and even earned him small parts in a number of TV shows and movies (he was a marketing genius as far a I’m concerned). So having Bruce in Once Upon a Time in Hollywood makes perfect sense – after all – the film’s subplot involves Charles Manson’s reign of terror that left two of Bruce’s friends brutally murdered.
Although he looks less like Bruce than the next guy, Moh’s mannerisms and speech execution are spot on, despite some oddball controversy from Bruce Lee fanatics (i.e. “The movie is BS, there’s no way anyone would ever lay a hand on Bruce!”). Even Donnie Yen admitted he didn’t complete watching Once Upon a Time in Hollywood when he felt “As filmmakers, I feel we should be more respectful to someone like Lee”. The movie’s theatrical release was cancelled in China after Shannon Lee “filed a complaint to China’s National Film Administration” due to the portrayal of her late father as “arrogant” and “boastful” (via RS).
It’s worth mentioning that Moh had once auditioned for the role of Bruce Lee in 2016’s Birth of the Dragon, but he lost to our next guy…
Philip Ng
PHILIP NG WAN-LUNG
Born in Hong Kong, with a good portion of his youth spent in America, Philip Ng Wan-lung is an avid practitioner/teacher of various forms of martial arts, including Hung Gar, Wing Chun and Taekwondo. He also founded the Wing Chung Association during his attendance at the University of Illinois. As both an actor and fight choreographer, he’s had a solid film career in his homeland since the early 2000s. If you look at his filmography, you’ll see that he’s already worked with some of the best in the industry, such as Ringo Lam, Donnie Yen, Corey Yuen, Sammo Hung and Jackie Chan.
Birth of the Dragon was a huge turning point in Ng’s career. Not only was it his first Hollywood gig he’s appearing/starring in, but he’s also portraying Bruce Lee, so expectations for his performance were set high (playing Bruce is comparable to playing James Bond for the first time).
Unfortunately, many fans dismissed Birth of the Dragon as and said it was a disgrace to Bruce’s legacy – and their negative reaction towards it had nothing to do with Ng’s performance. When the film made early screenings, fans were upset that the character of Bruce (Ng), the Asian, took a backseat, while the character of Steve (Billy Magnussen), the white guy, was front and center; in other words, they accused the filmmakers of racially “white washing” the film. Due to the backlash, director George Nolfi (The Adjustment Bureau) was forced to recut Birth of the Dragon, so it focused more on Bruce, and less on Steve.
The irony about this alleged “white washing” thing is that Birth of the Dragon (despite its title, it’s NOT a biopic) is centered around Bruce’s legendary fight with Wong Jack Man (Yu Xia). This real-life, controversial bout was initiated due to Lee’s teaching of Chinese martial arts to non-Chinese, which was a big no-no to Chinese traditionalists at the time. The deal behind the fight was simple: if Bruce won, he’d earn the right to teach non-Asians; if he lost, he’d have to give up these teachings. To put it simply, it’s a movie about the right to educate ALL races in complete harmony.
Not surprisingly, the Bruce Lee Estate also called it inaccurate travesty, but their words are questionable because of their own 1993 biopic starring…
Jason Scott Lee
JASON SCOTT LEE
To mainstream audiences, Chinese/Hawaiian actor Jason Scott Lee (no relation) is the most widely recognized person to ever portray Bruce. In 1993, he starred in Rob Cohen’s Dragon: The Bruce Lee Story, which was the first Hollywood project to explore Bruce’s life – an the first “officially authorized” film about Bruce.
Dragon: The Bruce Lee Story is based on the 1975 book, Bruce Lee: The Man Only I Knew, by Bruce’s widow, Linda Lee, who gave the film her complete blessing (at the time, she was head of The Bruce Lee Estate). If the book’s title is an indication of truth, then Bruce’s blood parents, blood brothers and blood sisters have no idea who the hell Bruce ever was, despite living with him during his most crucial years in Hong Kong. In fact, it’s open for debate if the demonic samurai appearing in Bruce’s nightmares really happened, but only Linda would know that – after all – she’s the only one who knew Bruce.
Anyway, back to Jason…
To prepare for the role, Jason trained in Jeet Kune Do under the late, white Jerry Poteet, who was one of Bruce’s actual students. Poteet would go on to become Jason’s personal fight choreographer again for both 1998’s Solider and 2003’s Timecop 2: The Berlin Decision.
Dragon: The Bruce Lee story was, for the most part, was adored by the general public. Some of those well-read on Bruce were quick to point out inaccuracies (and fantasy-additives, such as the demon samurai) and dismissed the acrobatic-laced choreography as bring more “Jackie Chan” than they were Bruce.
Since then, Jason has become a certified Jeet Kune Do instructor himself. Til this very day, he still uses his JKD skills, but now, they’re laced with computer enhancements, as recently noted in 2016’s Crouching Tiger, Hidden Dragon: Sword of Destiny. Hey, just like Bruce says,”There are no limits!”
Our next actor to portray Bruce is a Killer actor…
Danny Lee
DANNY LEE SAU YIN
Hong Kong director/producer/star Danny Lee Sau Yin (again, no relation) is perhaps best known for starring in John Woo’s 1989 ultra-violent masterpiece, The Killer, opposite Chow Yun-fat. But if you dig deeper into his decades-long career, you’ll eventually come across a sleazy, Shaw Brothers-produced oddity that goes by a number of sexy titles like: 1) Bruce Lee: His Last Days, His Last Nights, 2) I Love You, Bruce Lee, 3) Bruce Lee & I and my personal favorite, 4) Sex Life of Bruce Lee.
This biopic centers on Bruce’s final days, as told through the eyes of Betty Ting Pei, who reenacts her slutty ways. Here’s a little background info on her so you have a clear understanding: In the late 60s/early 70s, Betty was a Taiwanese actress who was known for appearing in sleazy films, often as a sex symbol, seductress, or some sort of bad girl. Her popularity grew when she became romantically linked with Bruce towards the tail end of his film career. She became notorious to the public and Hong Kong press for being the last person to talk to – and see – Bruce just hours before his death, as he was found unconscious in her apartment, in her bedroom and on her bed. Somehow I doubt they were having a conversation about puppy dogs and ice cream. But let’s get back on topic…
In the film, Danny’s portrayal of Bruce involves smoking lots of weed, getting drunk, picking fights with white people, swallowing mysterious prescription drugs and having sex, lots of it, but not with Linda (if Matthew Polly’s Bruce Lee: A Life is any indication, then Bruce’s sexual affairs with other woman is accurate).
The Bruce Lee Estate wants you to stay away from Bruce Lee: His Last Days, His Last Nights the same way the Elvis Presley Estate wants you to stay away from Elvis’ 1977 concert footage.
Our next actor has been the Estate’s official go-to “Bruce” for the last 12 years…
Danny Chan
DANNY CHAN KWOK-KWAN
Stephen Chow’s 2001 Blockbuster hit, Shaolin Soccer, featured a Bruce Lee-wannabe played by newcomer Danny Chan Kwok-kwan. His breakout performance in the film earned him steady work in a number of movies, most notably 2004’s Kung Fu Hustle, which became another box office smash for Chow, in turn, giving Danny yet another career boost. But regardless of the characters Danny played, he was stuck as the “Bruce Lee dude in Shaolin Soccer.” Film producers took note of this and Danny became the go-to guy when a “Bruce Lee” was needed for a project.
His first real portrayal as Bruce Lee came in the form of 2008’s The Legend of Bruce Lee, a 50-episode series that centered on Bruce’s life starting from his early Hong Kong years to his untimely death. The series, which was executively produced by Shannon Lee, is filled with so much embellished and historical inaccuracies that it makes Dragon: The Bruce Lee story look like Das Boot. But hey, gotta keep the legend alive, right?
Danny’s next gig as Bruce came in the form of a 90-second television commercial for Johnnie Walker Blue Label whiskey. For the advertisement, Danny’s face was digitally altered to resemble Bruce as accurately as possible (the final product resembles a PS3-era video game with no evidence of Danny being present).
Danny’s assistance was once again needed for 2015’s Ip Man 3, starring Donnie Yen. Originally, the plan was for Ip Man 3 to feature a computer generated version of Bruce (over a real guy, laced with CGI, just like they did for his favorite beverage), but due to a last minute legal threat from The Bruce Lee Estate, the CGI idea was ditched. Note: The Bruce Lee Estate owns Bruce’s likeness, image, name, persona, voice, signature, DNA and the air he used to breathe.
Eventually, an agreement was made between Ip Man 3 producers and The Bruce Lee Estate to bring Danny back as Bruce. Perhaps it was Danny’s association with Shannon’s The Legend of Bruce Lee that saved Ip Man 3 from scrapping Bruce from the storyline completely? Make sense.
Danny reprised his role as Bruce Lee in 2019’s Ip Man 4.
Aarif Rahman
AARIF RAHMAN
In 2010, a rising heartthrob named Aarif Rahman (aka Aarif Lee, no relation) – who is of mixed Arab, Malay and Chinese descent – portrayed Bruce in Raymond Yip and Manfred Wong’s Bruce Lee, My Brother (aka The Young Bruce Lee), a Bruce Lee biopic that takes place between 1940 and 1959.
Bruce Lee, My Brother is noted for being produced by Robert Lee, Bruce’s younger brother (the film even opens with an introduction by him and his older sister, Phoebe Lee), which gives the movie a sense of credibility, hence the film’s title.
Even before Bruce Lee, My Brother went into production, Robert approached Shannon about the details of the film’s investors: “Then she didn’t want to work with me. She wanted the whole deal to herself,” he said. “We don’t talk as much as I would like to. They don’t want to collaborate with us. We are one family. There is no reason why we shouldn’t collaborate. We share different parts of Bruce’s life.” (via SCMP)
Unfortunately, the film has yet to see an official release in the U.S., due to legal clashes with The Bruce Lee Estate.
Aarif never portrayed Bruce or played Bruce Lee-like characters again, but his singing and acting career continues to flourish in a number of high profile projects. He recently co-starred with Jackie Chan in 2017’s Kung Fu Yoga, where he was able to show more of his fighting skills.
Ho Chung-tao
HO CHUNG-TAO
Ho Chung-tao, a Taiwanese actor/martial artist who goes by the screen name, Bruce Li, has played Bruce so many times, that it’s nearly impossible to give you an accurate list of his Bruce-related titles.
Although he’s not not the first person to play Bruce (technically, some dude’s sweaty back in 1972’s Fist of Unicorn gets that honor), he was the first to portray him in the first ever biopic, Bruce Lee: A Dragon Story, which was a cheaply produced, 1974 Chinese production filmed months after Bruce’s death. Ho would go on to play Bruce again in a handful of biopics such as 1975’s Super Dragon, 1976’s Story of the Dragon and 1978’s The Dragon Lives.
Of all Ho’s biopics, the one that’s considered the most legitimate was 1976’s Bruce Lee: The Man, The Myth. It had a big budget, was shot on location in Hong Kong, USA, Korea and Rome, and it had one hell of a director, Ng See Yuen (The Secret Rivals), whose Seasonal Films Corporation would skyrocket both Yuen Woo-ping and Jackie Chan – with 1978’s Snake in the Eagles Shadow and Drunken Master – into a new level stardom.
It was because of Ho’s biopic output that a planned 1975 Hollywood movie titled Bruce Lee: His Life and Legend never saw the light of day. The film was to be directed by Robert Clouse (Enter the Dragon), in association with Linda Lee. Producers had even found their “Bruce” with Alex Kwok (aka Alex Kwon). Ultimately, the project was shelved due to the oversaturated market of Chinese-made biopics. So because of Ho, Alex Kwok isn’t on this list.
Ho would go on to star in a number of acclaimed projects that had little or nothing to do with Bruce. Films like 1977’s Last Strike, 1979’s The Golden Connection and 1981’s The Chinese Stuntman, which he also directed, proved that Ho could stand on his own, without the help of his marketable idol. By mid-late 80s, Ho semi-retired from film industry, before completely quitting the scene by 1990.
Huang Chien Lung
HUANG CHIEN LUNG
If Ho Chung-tao is the “Walmart” of Bruce Lee-inspired actors, then Huang Chien Lung was the “Walmart Bargain Bin” of Bruce Lee-inspired actors. Ho had some oddballs in his filmography, but Huang takes the cake for making movies that resembled the cheapest Filipino exploitation films – in fact, a handful of them were actually made in the Philippines.
Better known as Bruce Le, this Chinese-Burmese native – and avid martial artist – got his start as taking minor roles in a number of films produced by the famous Shaw Brothers studios.
When Bruceploitation-era was taking shape in the 70s, Huang’s likeness to Bruce Lee caught the eye of producers, and he was eventually cast as Cheng Chao-an’s brother in 1976’s The Big Boss Part II (Bruce Lee played Cheng Chao-an in the 1971 original). The same year came Bruce’s Deadly Fingers, starring Huang as a very Bruce-like character, where he teamed up with frequent Bruce Lee co-star, Nora Miao (Way of the Dragon).
From this point forward, Huang would churn out titles like 1978’s Enter the Game of Death (it was Fist of Fury meets Game of Death), 1980’s Clones of Bruce Lee (with Dragon Lee, Bruce Lai and Bruce Thai), 1982’s Bruce Strikes Back (with Hwang Jang Lee, Casanova Wong, Harold Sakata) and 1986’s Future Hunters (starring Terminator 2’s Robert Patrick and directed by Filipino film legend Cirio H. Santiago).
But the reason why Huang is even on this list is because he actually plays Bruce Lee in 1980s Bruce – The King of Kung Fu, a highly fabricated biopic he also directed. The film features main Enter the Dragon villain, Sek Kin, as well as Bolo Yeung (which is really nothing special, since he’s in everything).
Today, Huang is still going at it, but mainly behind the camera as a director. One of his recent projects include 2014’s Eyes of Dawn (a redux of his 1992 film, Comfort Women) and he has just wrapped up the war movie, Bloody Hero. He’s also keen on going back to martial arts movies with a dream project that would be a worthy successor to Enter the Dragon.
Kim Tai-chung
KIM TAI-CHUNG
If there’s one guy that qualifies as a certified “Bruce Lee” actor, it’s Korean martial arts star, Kim Tai-chung, who also goes by his Chinese screen name, Tong Lung.
A few years after the death of Bruce Lee in 1973, Golden Harvest Studios (the company behind all of Bruce’s films) started pre-production on Bruce’s incomplete film, Game of Death. Bruce had already shot the film’s action finale, which meant that all that was left to shoot was… well… the rest of the damn movie. This meant they needed someone who could not only fight like Bruce, but also walk, move, and capture his overall essence.
After an exhaustive search, producers finally found their leading man in Kim Tai-chung. With the help of some cardboard cut outs, sunglasses, a prosthetic beard, Bruce’s actual corpse, two or three other body doubles and footage from Bruce’s other completed films, they were able to finally complete 1978’s Game of Death, which was directed by Robert Clouse (Enter the Dragon). The film features a cast consisting of so many white people that’s probably the most white washed movie ever made. They even threw in clips of Chuck Norris to give it a little financial boost.
Despite its sloppy finished product, Game of Death was a box office smash. The demand for more Bruce Lee was obviously evident, so Golden Harvest called Kim called back for 1981’s Tower of Death (aka Game of Death II). This time around, Kim was able to fully sell himself, as he was playing his own character (let’s just say he’s supposed to be Bruce’s brother). Together with director Corey Yuen (Raging Thunder), choreographer Yuen Woo Ping (Dance of the Drunken Mantis) and the perfect villain in Hwang Jang Lee, Tower of Death is considered one of the greatest Brucepoitation movies ever made. There was even a Korean cut of the film, which proved that Kim was becoming a star in his homeland.
After Tower of Death, Kim returned to Korea where he immediately began work on 1981’s Miss, Please Be Patient (our very own yellow washed Paul Bramhall premiered the film at the Korean Culture Office in Sydney) and then came 1982’s Jackie vs. Bruce to the Rescue, where Kim, as a Bruce-like character starred alongside a Jackie Chan-like character, played by Lee Siu-Ming.
Even though I just went through a bunch of paragraphs regarding Kim’s Bruceploiation output, the main reason he makes this list is because of his role as Bruce Lee’s ghost in 1985’s No Retreat, No Surrender. The film, which reunites Kim with Corey Yuen, follows the Karate Kid mold, only instead of Pat Morita, we get the ghost of Bruce Lee and better fight choreography. Above of all, No Retreat, No Surrender is predominantly remembered for launching the career of Jean-Claude Van Damme (who is now doing shit like Kill ’em All).
Shortly after the release of No Retreat, No Surrender, Kim retired from acting to pursue a successful career in business. Sadly, Kim passed away in 2011, due to a stomach hemorrhage.
Leung Siu-lung
LEUNG SIU-LUNG
Just as producers did with Ho Chung-tao (Bruce Li) and Huang Chien Lung (Bruce Le), Leung Siu-lung was given the name Bruce Leung to help market his movies as Bruce Lee products. But unlike Li and Le, only a couple of Bruce-centric titles made their way into Leung’s 65+ filmography.
Legend has it that Leung once took on 13 armed attackers and defeated them single-handedly (too bad Smartphones and YouTube didn’t exist back then), which eventually led to his film career. Trained in the Cantonese Opera, as well as various forms of karate and kung fu, Leung spent the most of the early 70s taking minor roles or action directing in a number of movies. It wasn’t until Ng See Yuen’s 1975 film, Little Superman, that Leung finally gained momentum as a kung fu star.
In 1978, Leung co-starred in Magnificent Bodyguards with Jackie Chan (who was only months away from becoming an overnight sensation). Directed by Lo Wei (The Big Boss), the film is groundbreaking for being Hong Kong’s first ever 3D film (it’s also infamously known for ripping off John Williams’ Star Wars score). Then in 1979, Leung teamed up with Ho Chung-tao (Bruce Li) in Bruce and the Iron Finger. Although neither of the two technically connected to Bruce Lee, the “Bruce” the title is referring to is for Ho, since he’s the first-billed star (makes sense to me).
But let’s jump back to 1976’s Dragon Lives Again, which is one of the reasons Leung is qualified for this list. Taking place after Bruce Lee’s passing in 1973, this over-the-top flick starts with “Bruce Lee” (Leung) rising from his death and waking up in a mysterious after-life universe where people like James Bond, The Godfather, The Blind Swordsman, The One Armed Swordsman, Clint Eastwood, Dracula, Emmanuelle (yes, you guessed right), Zombies, Mummies and Popeye (played by Eric Tsang) roam the streets. Bruce takes on most of these guys (sometimes, in his Kato outfit).
Leung played Bruce again in the 2010 TV series, Jeet Kune Do. This time around, he portrays an elderly version of Bruce who mentors a character played by Chen Tian Xing (Nunchucks), who actually happens to be one of the newest additions of Bruceploitation era.
For the most part, Leung has had a steady career that still goes strong, but it was his memorable role as “The Beast” in Stephen Chow’s Kung Fu Hustle that gave him a second wind of success not seen since his 70s glory days.
Stephen Au
STEPHEN AU KAM-TONG
In 1999, rising Hong Kong actor Stephen Au Kam-Tong directed, starred-in and wrote What You Gonna Do, Sai Fung?, which focused on Bruce Lee’s turbulent years in Hong Kong during the late 1950s.
If you’re wondering who the film’s title is referring to, here’s the explanation: In the film, Stephen’s character doesn’t go by the name Bruce, he goes by the name Sau Fung (or Sai Fon), which was Bruce’s childhood name that meant Little Unicorn.
It was said that Bruce’s family gave him this nick name (a substitute for his real name, Lee Jun-fan) which was actually a girl’s name. They believed that evil spirits did not like boys in the family (their firstborn was a son who died in infancy). So, by calling him Sau Fung, they were able to trick demonic spells into thinking Bruce was female.
I’ve never seen What You Gonna Do, Sai Fung?, but judging from the footage, Stephen is almost a spitting image of a late 1950s-era Bruce Lee. Since Stephen holds a Black Belt in Karate, he’s probably not too shabby in the action department either.
Prior to What You Gonna Do, Sai Fung?, Stephen appeared in yet another 1992 Bruce Lee biopic (not as Bruce), which is the subject of our next Bruce Lee actor.
Today, Stephen is still very active in the industry. Some of his film’s include 2000’s The Blood Rules, 2009’s Overheard, 2014’s That Demon Within and just recently, 2016’s Three.
David Wu
DAVID WU DAI-WAI
I’m going to struggle with this one. All I have to say is thank God for Wikipedia…
David Wu Dai-Wai (aka Wu-Man) is Chinese-American actor and TV personality. In 1992, he took a stab at playing Bruce Lee in the ATV series, Spirit of the Dragon.
I’ve never seen the series, but there is a character named Linda, played by Gwennie Tam (reverse white washing?). Of special note, the series features Lau Kar-leung, Nick Cheung, Eddy Ko Hung and of course the guy you just read about, Stephen Au.
Since 1985, David has had a solid career as he’s appeared in a number of films, including 1990’s Tiger Gage 2, 1991’s Robotrix, 1995’s Full Throttle and 1996’s Temptress Moon.
Jiang Dai-Yan
JIANG DAI-YAN
There have been many of child actors – some infants, possibly some fetuses – who have played Bruce, but I’m excluding them because their roles weren’t substantial enough (even if they were included, we wouldn’t be able to properly identity them).
When the original Ip Man movie came out in 2008, its trailers, posters, TV spots and other advertising material were branded with the words “Mentor of Iconic Legend Bruce Lee” – it was as if both Ip Man, the master of Wing Chun, and Donnie Yen, a top martial arts action star, were living in the shadow of Bruce Lee (even Donnie himself has had his share of Bruce-like performances in the 1995 Fist of Fury TV series, as well as 2010’s Legend of the Fist). If anything, it was proof that the words “Bruce Lee” were a powerful marketing tool.
Ip Man would go on to become a box office smash and its leading man, Donnie Yen, went from star to international superstar (for more on this, read How ‘Ip Man’ made Donnie Yen ‘The Man’). Instantly, the public wanted more Ip Man. They also wondered if a Bruce Lee character would be making an appearance in future Ip Man sequels. Let’s face it, most of the general public wouldn’t even know who Ip man was if it weren’t for Bruce’s close association with him. Besides, the two names were practically synonymous with each other (imagine making a John Woo biopic without the appearance of a Chow Yun-fat character).
When Ip Man 2 finally made its way to theaters in 2010, the audience was treated to a nice surprise during the last few minutes of the movie: A digit old version of Bruce, played by Jiang Dai-Yan. Depending on how big of a Bruce Lee fan you are – and depending if you were expecting him or not – the cameo is worthy of goose bumps.
To date, Ip Man 2 was the first and only acting gig for Jiang. There are a number of premier/press conference photos of him performing kung fu stances in front of cast and crew, so this establishes that he’s had some martial arts training. What’s next for him? Only time will tell.
Who’s our next Bruce?
For the last few years, Shannon Lee/The Bruce Lee Estate has been in the process of producing an all-new official Bruce Lee biopic (read about it here). At time of writing this article, a “Bruce Lee” has yet to be cast, but filmmaker Shekhar Kapur, who helmed Elizabeth (1998) and New York, I Love You (2008), is attached to direct.
According to Variety, Little Dragon will be a contemporary dramatization of the 1950s Hong Kong social and political forces that shaped Bruce Lee into both the most famous martial arts star of all time and a significant modern day philosopher. Themes include family disappointment, young love, true friendship, betrayal, racism, deep poverty and an inner fire that threatened to unravel his destiny.
5,000 people around the world have auditioned for the role of a 17 to 18-year-old Bruce Lee – one of the four shortlisted is an unnamed Malaysian actor (via MMO). And that’s where we’re at.
We’ll be sure to keep this article updated as new Bruces hit the market. Until then, here’s our favorite performance of Bruce:
In 1954, an enormous beast clawed its way out of the sea, destroying everything in its path—and changing movies forever. The arresting original Godzilla soon gave rise to an entire monster-movie genre (kaiju eiga), but the King of the Monsters continued to reign supreme: in fourteen fiercely entertaining sequels over the next two decades, Godzilla defended its throne against a host of other formidable creatures, transforming from a terrifying symbol of nuclear annihilation into a benevolent (if still belligerent) Earth protector.
Collected here for the first time are all fifteen Godzilla films of Japan’s Showa era, in a landmark set showcasing the technical wizardry, fantastical storytelling, and indomitable international appeal that established the most iconic giant monster the cinema has ever seen.
Special Features/Technical Specs:
High-definition digital transfers of all fifteen Godzilla films made between 1954 and 1975, released together for the first time, with uncompressed monaural soundtracks
High-definition digital transfer of Godzilla, King of the Monsters (1956), the U.S.-release version of Godzilla
Japanese-release version of King Kong vs. Godzilla from 1962
Audio commentaries from 2011 on Godzilla and Godzilla, King of the Monsters featuring film historian David Kalat
International English-language dub tracks for Invasion of Astro-Monster, Son of Godzilla, Destroy All Monsters, Godzilla vs. Megalon, Godzilla vs. Mechagodzilla, and Terror of Mechagodzilla
Directors Guild of Japan interview with director Ishiro Honda, conducted by director Yoshimitsu Banno in 1990
Programs detailing the creation of Godzilla’s special effects and unused effects sequences from Toho releases including Destroy All Monsters
New interview with filmmaker Alex Cox about his admiration for the Showa-era Godzilla films
New and archival interviews with cast and crew members, including actors Bin Furuya, Tsugutoshi Komada, Haruo Nakajima, and Akira Takarada; composer Akira Ifukube; and effects technicians Yoshio Irie and Eizo Kaimai
Interview with critic Tadao Sato from 2011
Illustrated audio essay from 2011 about the real-life tragedy that inspired Godzilla
New English subtitle translations
Trailers
PLUS: A lavishly illustrated deluxe hardcover book featuring an essay by cinema historian Steve Ryfle, notes on the films by cinema historian Ed Godziszewski, and new illustrations by Arthur Adams, Sophie Campbell, Becky Cloonan, Jorge Coelho, Geof Darrow, Simon Gane, Robert Goodin, Benjamin Marra, Monarobot, Takashi Okazaki, Angela Rizza, Yuko Shimizu, Bill Sienkiewicz, Katsuya Terada, Ronald Wimberly, and Chris Wisnia
VCI Entertainment, the U.S. distribution company that recently released Bruce’s Deadly Fingers (1976) on Blu-ray, have announced The Pearl Collection, a label “dedicated to publishing important classic and neglected martial arts films from Asia in editions that offer the highest technical quality available and original supplements and content.”
The first title from the The Pearl Collection is The Leg Fighters (1980), which hits Blu-ray/DVD on October 15th.
Read the official details below:
Phoenix (Kuang-Li Hsia) is a rebellious young student in martial arts, so when her father brings in a new Kung Fu instructor, high-kicking Tan Hai-Chi (Tao-Liang Tan), she will find herself having to shape up quickly as a deadly master approaches (Kang Peng) looking for Tan to avenge his brother’s death. With action scenes from Sun Jung-Chi Sun and Kang Peng, the fights set new standards in kicking choreography under the knowledgeable action eye of Tso Nam Lee (The Hot, The Cool and The Vicious).
Special Features:
New! 2K Restoration of original 35mm Chinese print
Audio commentary by filmmaker, actor and Kung Fu Film fan Michael Worth
For sure, you have had a good reason to splash your valuable bucks on a movie ticket this year since good movies, such as Avengers; Endgame has hit theaters and showbiz headlines in the first half of 2019. However, the remaining half seems to be set for big movies, in the meantime have a glimpse on the film reviews. Thus, movie enthusiasts have a lot to watch out for.
If you had begun to enjoy online games and sports betting, it is about time you invested in a better screen for the upcoming epic movies. For those who are looking for more cash to save for the tickets, simply get more info on money-making and be ahead of the rest. Well, back to the topic. Here are the upcoming movies you should expect.
Fast and Furious Presents; Hobbs and Shaw
This blockbuster is set for release this 2nd August 2019. If you have been a diehard fan of the fast and furious franchise, you must be happy with this announcement. Fast and Furious 9; is due in 2020 but you can expect a great film by Dwayne Johnson and Jason Statham this coming month. This movie stars both Jason and Dwayne but without Vin Diesel.
Typically, you should anticipate a great movie from the top action stars. City damaging battles, super villains, and more of car chases are some of the key things you should watch out for. It is one of the big hits that you may not want to miss.
Once Upon a Time in Hollywood
In the US, you will have it officially released on 26th July. In the United Kingdom, expect to have launched on 14th August this year. It is Quentin Tarantino’s movie that seems to take you back to the 1960s. The cast list is quite impressive with stars such as Brad Pitt, Leonardo DiCaprio, and Margot Robbie.
You will agree that Tarantino is one big hit when it comes to his movies. His movies are ever worth watching. You can bet on its success as per his precedent on Django Unchained, Reservoir Dogs and The Hateful Eight. Actually, this is one of the best upcoming movies from Tarantino with a glimpse of 1960’s Los Angeles.
Zombieland: Double Tap
Set to release 11th this October, a lot of fans are happy to expect a Zombieland sequel. It has been a long time, approximately a decade, after the very first movie gave fans the most thrilling watching experience. The director of the film (Ruben Fleischer) and the writers (Paul Wernick and Rheet Reese) have done it again! The cast members are all back for another hit. You could expect to see Woody Haralson, Abigail Breslin, and Jesse Eisenberg. Zoey Deutch, Rosario Dawson, Luke Wilson, and Thomas Middleditch are the new cast members to expect. You actually anticipate for an exciting experience as you get glued to your screen for the Double Tap action.
Bottom Line
As you have seen, there is a lot in the pipeline for you. All that you have to do right now is to keep in loop via film news and updates. Also, you should make sure you check out the trailers if you have not had a chance to do so. Lastly, expect Hobbs and Shaw, Double Tap, and Tarantino’s Once Upon A Time In Hollywood to hit your screens soon.
Today’s Deal on Fire is the 2-disc Blu-ray set for Red Cliff Part I & II (International Version), an epic thriller from acclaimed action director, John Woo (The Killer, Bullet in the Head).
This 2-disc set contains the two-part story of Red Cliff that centers on a battle fought in China’s Three Kingdoms period (220-280 A.D.).
Director: Li Jun Writer: Xiaoyang Ding Cast: Wallace Chung, Lee Jung-jae, Lang Yueting, Lee Chae-yeong, Fan Yang, Lumeng Cui Running Time: 103 min.
By Paul Bramhall
There was a brief moment, not too long ago, when The Thieves made it seem like the prospect of future collaborations between Korea and China was an exciting one. But then efforts like The Bounty Hunters, Reset, and Bad Guys Always Die quickly put paid to that theory. Despite these less than stellar efforts though, Chinese money remains an attractive proposition for Korean producers, which is as good a reason for the existence of the 2016 oddity Tik Tok as I can think of.
Like many of the commercially glossy action movies coming out of China (Switch, I’m looking at you), Tik Tok is helmed by a first-time director, this time in the form of Li Jun. Filmed entirely on location in Seoul, Jun has somehow managed to enlist the services of Lee Jung-jae, made during the same year he’d also headline Operation Chromite. Lifting wholesale the ‘bomb in a packed football stadium’ plot device from Shiri, Tik Tok is essentially a race against time flick, as our heroes attempt to save the 50,000 people under the stadium roof watching an Asia Cup soccer match. You know Tik Tok is financed by Chinese money, because the match pits a team from Korea versus one from China, and the China one wins.
The culprit responsible for planting the bomb is played by Wallace Chung. Yes the same annoying Wallace Chung that showed up in that other Korea/China co-production, The Bounty Hunters, opposite Lee Min-ho. Here he plays a burn victim, who’s scarred to the point he wears a prosthetic mask, that gets a kick out of high risk gambling. It was his addiction that got him burnt in the first place, however now he’s become psychotic, kidnapping one of the player’s wives and strapping her to a bomb (due to go off if her husband doesn’t score). Thankfully he’s also happy to go to counselling sessions with the resident Chinese psychiatrist, played by Extraordinary Mission’s Lang Yue-Ting, who his brother hired to resolve his issues. The brother is also played by Chung, so if you’re a fan, this is the movie for you. Ultimately Jung-jae and Yue-Ting end up teaming up to find the bombs planted throughout the stadium, and save the day.
Director Jun is clearly a fan of the John McTiernan Die Hard flicks. Within the opening minutes we have Jung-jae frantically wrapping a fire hose around his waist on an upper floor of a high-rise building, and smashing through a window like a Korean version of John McClane. He also has to deal with the inconvenient phone calls he keeps receiving, reminding him that the deadline for him to sign the divorce papers his wife arranged is tomorrow. The overall structure is reminiscent of Die Hard with a Vengeance, as Chung sends our heroes running all over Seoul on the hunt for bombs, that may or may not pose a legitimate threat. You can also swap the Brooklyn human billboard scene, for one in which Jung-jae is forced to don the Chinese team’s jersey in the middle of the Koreans side of the stadium, and walk amongst the fans chanting how much their team sucks. Yes, it’s as tense as it sounds.
I’ll refrain from any Lang Yue-Ting as Samuel L. Jackson comparisons, however it is worth mentioning that like the pairing of Bruce Willis and Jackson, Jung-jae and Yue-Ting also have good onscreen chemistry together. As the smart psychiatrist and veteran cop, their pairing is a pleasant one, and credit should be given for not making Yue-Ting’s role one of the damsel in distress. Her character is just as gutsy as Jung-jae’s, and isn’t afraid to put herself in harm’s way for the sake of getting the bad guy.
What is distracting though is the dubbing that’s used for Jung-jae’s dialogue in Mandarin. In a throwaway line it’s mentioned that his (soon to be ex-) wife is Chinese, a piece of dialogue there for no other reason than to act as a justification for why he can speak the language fluently. Except, it’s not him. Admittedly, in the extended scenes when he only shares the screen with Yue-Ting, it eventually becomes tolerable. However for other scenes (of which there are several), where he has to speak both in Korean and Mandarin, it’s painfully obvious that the latter is completely different to his actual voice tone. Again, the decision is a clear indicator that the main audience for Tik Tok was always intended to be Chinese, with a release in Korea going straight-to-DVD.
While the production obviously wasn’t confident that Jung-jae would be able to deliver the Mandarin dialogue himself, for some inexplicable reason, they didn’t feel that the casts delivery of the English dialogue was an issue at all. Trust me, it is. I have nothing but respect for those who can speak a language other than their own, especially one as difficult as English. But if you’re going to speak it in a movie, well, as a basic requirement the audience needs to understand what’s being said. The main culprits are the Koreans, chiefly Lee Chae-young and Yang Fan, who are forced to deliver some completely unintelligible dialogue that’ll leave many scratching their heads.
Chae-young in particular is ladened with some equally horrendous lines to deliver. In one scene she identifies that a clue left by Chung is a quote from the bible, at which point she reaches under her shirt and pulls out a crucifix pendant, cheerfully announcing, “I am a Christian.” It’s as strange as it sounds. She’s then given a lengthy monologue that explains the meaning of the quote. Or at least I assume it does, because I barely caught a word of it. I can’t help but feel that Jung-jae surely couldn’t have delivered his Mandarin lines any worse, but as the expression goes, know your audience. In fairness the whole script is ropey, regardless of the language. When considering a potential plan to evacuate the stadium, one Korean official refuses, because then “The world will think that Korea isn’t capable of hosting the Olympics.” Hmmm, ok.
My favorite scene though, was one in which one of the bombs not being detonated is dependent on Jung-jae giving the correct answer to Chung’s question. The question is, what’s the name of Cristiano Ronaldo’s son? For a moment, I forgot Tik Tok is supposed to be a tense thriller, and thought it had decided to become a surrealist comedy. It’s a line of thinking that was reinforced when Chung then gives Jung-jae the option to phone a friend, and he proceeds to call his wife. Cue tense scene (see, it’s back on track again now) of Jung-jae arguing over when he’s going to sign the divorce papers, all in front of a murderous pyscho, when all he wants to ask is what’s the damn name of Cristiano Ronaldo’s son!
For all its faults though, Tik Tok’s 100-minute runtime does tick along nicely thanks to Jung-jae and Yue-Ting’s performances. For Jung-jae , it kind of feels like a throwback to the types of role he used to play in the early to mid-00’s, like in The Last Witness and Typhoon. Indeed the whole movie feels like a throwback to a simpler time for action movies, when all you needed was a psychotic bad guy who wants to blow things up, and you didn’t need to worry about any overtly political undertones or hidden subtext. I’d daresay it would make a breezy double feature with Quick, another race against the bombs flick, and there are enough explosions, vehicle chases, and brief flashes of martial arts action to make it an easy way to pass the time.
While it’s safe to assume Tik Tok isn’t going to be on the top of many peoples to-watch list, unless you’re a diehard (pardon the pun) fan of Lee Jung-jae, the best that can be said is it doesn’t commit any unforgivable crimes against the action genre. It even throws in an unexpected twist at the end (then goes a little overboard with another one during the end credits, but we can ignore that), which based on the cast wasn’t entirely unexpected, but still welcome. The one thing I can guarantee, is that you’ll walk away from Tik Tok knowing the name of Cristiano Ronaldo’s son, and hey, maybe that’s enough.
Did you know that in top 10 world universities, five are from the United States, with top four being MIT, Stanford, Harvard, and Caltech? Asian universities are represented with two from Singapore and one from China between 10 and 20.
This might paint the picture of the superiority of education in America. The problem is if you look at the performance of students in different subject on standardized tests. Hong Kong, Finland, and South Korea student have the best scores in math.
There is a clear difference in the Asian education system vs. American, and we will browse through the main differences.
The main differences between Asian and American education
Approach to school and the relations between students and teachers are the underlying main difference between the western and eastern form of education.
Approach to classes
Student-teacher culture and relationship in classes are the exact opposite in Asia and the US. American schools encourage kids to participate in class, to ask a question and give opinions. It’s not uncommon to discuss specific topics within the classroom and with the teacher.
Asian students live in a different, less creative, and more disciplined environment. The curriculum is lecture-based, and a lot of memorization is required. Discipline and not standing up to the teacher is valued. On the other hand, there are cases of students sleeping In classes, and Asian teachers try to look around.
More school after you’re done with school
The reason many students are tired is because of the principle of going to another, private school after the classes are over. These private schools and academies, to make things worse, teach kids the same subjects and topics they study in public school. The reason so many kids go to private school is that they feel going only to regular school or college won’t be enough.
Different grading system
Exams are stressful for students both in the US and in the Asian counterparts American student get the grade ranging from excellent A to insufficient D grade. Asian schools use a relative grading system, meaning that top 35% of students receive an A grade, while the next 40% get grade B. Asian schools to share a focus on exams and performance on exams. Exams are important in US education, but the system is not so focused on the number and the performance on the exams.
Classroom and class size
Teachers in American schools have up to 30 students in one class, while Asian class could have up to 65 students. This is possible because of the lecture-centric approach. For more interactive classes, it would be impossible for a teacher to communicate with that many students effectively.
Another big difference is the classroom itself. In Asian schools, students are situated in one classroom, and teachers come to them, and there is usually one headteacher responsible for the class. American students change classrooms and classmates from class to class.
Both American and Asian students use technology in classrooms, and computers are a vital part of literacy in 2019. The software they use is probably different.
Homework and additional work
Asian students often go to another school after the regular one. Private academies teach the same subjects, but Asian parents believe that only regular school will not be enough to prepare kids for higher education and the workforce.
American students go to school, get homework, and that is basically it. They would probably be overwhelmed in the Asian system. For some, US education is tough too, especially if you factor in modern technology, extracurricular activities like sport and music. There is a lot of homework sometimes, and students must write various essays. For those who can’t always finish everything on time, you could ask professionals to write my thesis or find freelancers that could help you.
Going to school
Yellow American school bus became a part of popular culture, and kids that go to school go with this organized transportation. Once they turn 16, American students often have their car, and sometimes parents drive kids to school.
In Asia, students mostly go to the nearest school and walk, or drive a bike to school. In high school and college, they opt for public transportation. It is not common to go to school by car.
Conclusion
Education systems are quite different in Asia and the US. Questioning facts and authority with more interaction is common in North American educational system while confronting Asian teacher is frowned upon.
Kids have a different schedule, classroom size, class organization, and even transportation is organized entirely different.
Approach to the grading system and exams are maybe to the most significant difference between two educational methods. Both have some advantages and disadvantages. While higher education is the best in the US, kids from the Asian education system get better PISA results. Both systems could probably learn something and benefit from Finish school system that is along with Singapore considered among the best in the world.
Nicholas Walker is a freelance author and blogger who enjoys shaping opinions with highly informational articles. His topics range from education to technology, and many areas in between. His mission is to produce high-quality, referenced, and researched articles on a wide variety of topics in a friendly and conversational manner.
This $23 million dollar action movie pairs the controversial Untold Storydirector up with Hong Kong superstar Andy Lau (Switch). In the film, Lau plays an undercover explosive ordnance disposal bureau officer who becomes the protégé of a criminal specializing in bombs and then tries to capture him.
Director: Jeff Lau Producer: Wong Hoi Cast: Sandra Ng Kwan, Shing Fui On, Stephen Chow, Ann Bridgewater, Sunny Fang, Wu Fung, Jeff Lau, Lam Siu Lau, Joh Chung Sing, Eddie Ko Hung Running Time: 97 min.
By Paul Bramhall
The sheer volume of movies cranked out of Hong Kong in the 1980’s somewhat belies belief, and perhaps understandably, the on-the-fly nature of so many of them sometimes results in confusion. Such is the case for Thunder Cops 2. It should be simple enough – it’s the sequel to Thunder Cops right? Well, yes and no. In a nut shell, director Jeff Lau’s 1988 sophomore feature Operation Pink Squad proved to be a hit, and within a year a sequel was in the works, predictably titled Operation Pink Squad 2. Both fall into the action comedy genre, with the sequel going for a supernatural slant. For reasons we’ll likely never know, for some home video releases Operation Pink Squad 2 was known as Thunder Cops, and for reasons we’ll definitely never know, during the same year Lau would also grace our screens with Thunder Cops 2.
There are some tenuous connections between the trio. Apart from all being directed by Jeff Lau (who also turns up in a supporting role in all 3), each are headlined by Sandra Ng, with a supporting cast that features the likes of Ann Bridgewater and Wu Fung, and action direction duties going to Yuen Clan member Yuen Cheung Yan. However much like the Tiger Cage series, in each instalment everyone is playing a different character. Unlike the Tiger Cage movies though, which at least kept their theme of being no nonsense cops and robbers fight flicks, Thunder Cops 2 quickly puts to rest the theory of there being any thematic connection.
Lau also enlists the services of Stephen Chow, here in an early screen appearance. The pair would collaborate again in 1995, when they’d make Out of the Dark and the 2 A Chinese Odyssey movies together (although thankfully Chow didn’t return for the 3rd instalment, belatedly made in 2016). In 1989 Chow was still very much in the process of refining his comedic persona (he’d star alongside Jet Li in Dragon Fight the same year), compared to both Lau and Sandra Ng, who’d already established themselves to HK audiences as being associated with the comedy genre. So for Thunder Cops 2, you get the distinct impression the 3 of them sat in a room together, and decided that before they find themselves typecast for the rest of their careers, they’d have a crack at making a gritty and mean spirited revenge flick. Audience expectations be damned.
Or at least, they sat in a room together and had that conversation after the first day of filming. Indeed proceedings start out like many an 80’s Hong Kong flick, with the rather light hearted sequence of Ng’s bumbling traffic cop attempting to arrest a group of illegal street market vendors. In one of those only in a HK movie moments, she then inadvertently stumbles across her father policeman’s (played by Eddie Ko) operation to arrest an armed drug dealer (played with a manic intensity by Sunny Fang). Looking to get in on the act, after the bust goes awry Ng finds herself able to sneak up on Fang from behind, and attempt to apprehend him by passing off the eggplant being held to his head as a gun. Comedy shenanigans all the way, except the eggplant trick doesn’t work, and Fang ends up sending her father to an early grave.
Cue opening credits, and by the time we’re back it’s 1 year later. Gone is the bumbling traffic cop, and in her place is a shoot to kill badass hell bent on avenging her father, one that’s all too happy to manipulate her junkie informant to help her track Fang down. That sure escalated quickly. It’s safe to say that Ng’s role in Thunder Cops 2 is definitely an anomaly in her career, with a Jeff Lau at the helm who seems to have been influenced by the work John Woo was doing around the same time (The Killercame out the same year).
Watching Ng let loose with a Beretta in each hand shouldn’t work, but somehow it does, and Lau shows an unusual cruel streak in the violence he orchestrates. A confrontation on the steps of a wedding hall (newlywed couple included), ends with the bride and groom caught in the crossfire with tragic results, reflecting an aesthetic that doesn’t shy away from showcasing the civilian collateral damage. Lau and action director Yuen Cheung Yan opt to film the bullet ballets mostly in slow motion, with the brief parts that play out in real time acting as explosive bursts of visual punctuation, which for the most part works. There’s an almost ethereal like quality to the bullet riddled mayhem, almost as if the slow motion is meant to represent time slowing down, and it creates a unique feel that heroic bloodshed aficionados will surely get a kick out of.
This is done particularly well in a scene which see’s Ng rescue Chow from a group of assailants. The whole scene plays out from Chow’s perspective who’s been knocked to the floor, as he watches Ng pump the bad guys full of lead looking like a sort of dreamy angel of death. It’s a cool scene, and a distinctly different approach from other movies that were looking to ape the John Woo aesthetic around the same time, such as City War. Speaking of John Woo, it also can’t be denied that Chow’s limp addled brother to Shing Fui On’s drug dealing pimp, is undoubtedly modelled after Chow Yun Fat’s physical disposition in A Better Tomorrow.
The action isn’t only limited to gun fights though, with the appearance of Ng’s partner played by Taiwanese stalwart Lin Hsiao Lu guaranteeing at least one scene of quality fisticuffs. Hsiao Lu starred in many of the late 80’s Taiwanese kung-fu flicks, usually alongside Alexander Lo Rei, and can be seen showing off her considerable talents in the likes of Kung Fu Student and Emergency Police Lady (both from the same year). She’s perhaps best known though as The Child of Peach, in which she played the peach powered son (which part of that title do you want to discuss first?) across 4 movies. Here she gets a hard hitting knockdown, drag out brawl against two assailants which takes place on a construction site, and while it’s the only real fight scene of the movie (unless you count Sandra Ng vs. Stephen Chow), it more than delivers. Impacts, hard falls, and some impressive choreography are all present and accounted for.
When it comes to everything else though, Thunder Cops 2 doesn’t really hit the mark. While it’s well known that many Hong Kong movies had their scripts made up as they went along during the golden era, here it’s never felt truer. There’s a real feeling that, outside of the plot outline of a police woman looking to avenge the death of her father, everything else was simply made up on the fly. Notably Stephen Chow doesn’t even turn up until over an hour in, and he’s never really around long enough to feel like a significant character, despite his appearance in the finale being reliant on the audience being invested in him. There’s something reassuringly familiar about seeing Shing Fui On turn up in a movie like this, however his character here is simply a means for Ng to get to her father’s killer, and subsequently also ends up receiving short thrift.
Special mention has to go to Ann Bridgewater, who as a junkie informer is about as far away from her sexy turn in Full Contact 3 years later as you can imagine. Playing a character who’s opening scene involves being pummelled (note: not in a violent way) by Shing Fui On while Sandra Ng watches on from inside a closet, she definitely puts her all into the role, even if the movie over all isn’t worthy of it. In fact everyone in Thunder Cops 2 looks like they want to be there, so the blame for its incohesive nature would seem to lay largely with Lau himself, a theory that certainly isn’t outside the realms of possibility when you look at his overall filmography.
By the time the credits abruptly roll on Thunder Cops 2, which let’s face it isn’t such a surprise in Hong Kong cinema, I was left with a distinct feeling that I’d watched an unruly and disorganised mess of a movie, with some sprinkles of brilliance thrown in haphazardly. At one point Chow refers to Ng and himself as “one bitch and one cripple”, which perhaps would have been a more fitting title, although certainly no less misleading. Thunder Cops 2 is carried along on Ng’s shoulders (as is Chow in one scene), and for the most part she keeps it watchable, now with the added retrospective ingredient of nostalgia. Is it a good movie though? Not really.
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On a mоrе nеgаtіvе note, whеrе wіll thе fіlm іnduѕtrу bе іn thе future?
Nо оnе саn predict thе answer, but соmраnіеѕ nееd tо start thіnkіng. And it can definitely make a difference – you can even play a crossword online these days, for example, which just goes to show innovation is there, and the same kind of thinking outside the box could apply to movies and not just games.
Mоvіе wаtсhеrѕ wаnt tо gеt аwау frоm a bіg movie аnd tаlk аbоut іt lаtеr wіth thеіr friends. Today they prefer to interact with their friends directly and create entertainment together on platforms like Twitch, learning their new craft on communities like Onetwostream. Lately, thе fіlm іnduѕtrу hаs bееn ѕlоwіng dоwn аnd аttrасtіng nеgаtіvе аttеntіоn tо іtѕеlf. Whаt саn bе dоnе fоr improvement? Lеѕѕ money spent оn рrоmоtіоn, mоrе money ѕреnt оn production. Thіѕ іѕ оnе оf thе mаіn rеаѕоnѕ whу thе іnduѕtrу іѕ bеhіnd schedule. Tаkе thе movie Sрееd Rасеr, fоr example. Thе fіlm wаѕ a financial fаіlurе; thе company ѕреnt аbоut 80 million fоr a marketing campaign аnd оnlу rаіѕеd 85 million worldwide. Marketing іѕ іmроrtаnt, but nоt аѕ іmроrtаnt аѕ thе mоvіе іtѕеlf. Tо еlіmіnаtе thіѕ рrоblеm, fіlm studios muѕt define a bаѕіс rulе fоr аllосаtіng a сеrtаіn реrсеntаgе оf thе production budgеt tо оthеr еxреnѕеѕ. Thіѕ mау асtuаllу рrоvіdе a ѕраrk thаt thе іnduѕtrу desperately nееdѕ nоw.
AKA: Mard Ko Dard Nahin Hota Director: Vasan Bala Producer: Ronnie Screwvala Cast: Abhimanyu Dassani, Radhika Madan, Gulshan Devaiah, Mahesh Manjrekar, Jimit Trivedi Running Time: 138 min.
By Paul Bramhall
It feels only right to start this review by stating I’ve become my own worst enemy. I have a pet peeve about certain reviews, and it’s the kind that start off with “I’m not usually into these type of movies, but thought I’d give this one a go…” It’s a line I come across more frequently than I’d like to, and never fails to put me in touch with some primitive urge to hunt down the reviewer in question, and ask them what the value is in writing a review for a genre they know they’re not going to enjoy!? With that said, I confess the world of Bollywood has never been one I’ve been able to fully embrace. I tried once before with Rocky Handsome, and it didn’t end well, and yet here I am, having just come out the other side of The Man Who Feels No Pain’s epic 135 minute runtime.
The reason that drove me towards entering the world of Bollywood once more is likely the same as many fans of martial arts cinema. In 2017 The Stunt People co-founder Eric Jacobus (Death Grip) had started sharing photos on social media, showing him and fellow Stunt People alumni Dennis Ruel (Unlucky Stars) working in India on a new action movie. The Stunt People, Jacobus and Ruel in particular (just check out their fights in Contour and the Rope A Dope shorts), have been behind some of the most innovative action shorts of the past 20 years, so to see them lending their combined talents to any production, regardless of where it’s from, was an exciting one.
Of course The Man Who Feels No Pain isn’t the first time for a Bollywood movie to bring in foreign talent to assist with their action. Apart from Patrick Kazu Tang appearing in the aforementioned Rocky Handsome, in 2006 Ching Siu-Tung was brought on-board for Krrish, in 2011 Johnny Tri Nguyen was cast as the villain in 7am Arivu, and Yuen Woo-Ping was brought in for S. Shankar’s Enthiran and I, from 2010 and 2015 respectively. Oh, and lest we forget Bruce Le’s infamous appearance in 1981’s Katilon Ke Kaatil. There’s a key difference between these productions though and The Man Who Feels No Pain, and that’s that director Vasan Bala specifically reached out to Jacobus to create “Rope A Dope action in a Bollywood film.” If that meant all of the usual Bollywood actions clichés being cast to one side – I’m thinking the exaggerated super human capabilities, and the slower than slow motion slow-mo – then I was in.
The Man Who Feels No Pain is Bala’s sophomore full length feature, after 2012’s crowd funded Peddlers, and he’s given the title role to newcomer Abhimanyu Dasani, here making his screen debut. As the title suggests, Dasani was born with an insensitivity to pain (which means we definitely need a Darkman cameo if there’s a sequel). After his mother dies at birth due to a run in with a pair of bag snatchers, various events culminate in Dasani’s conservative father deciding to keep him at home for the next 12 years, where he begins to consume a never ending supply of action movies via VHS. Supported by his world weary grandfather (look out for the Sam Seed poses), he eventually comes across a tape showing a one-legged karate master reigning victorious in a 100-man kumite, and makes it his mission to track this mysterious ‘Karate Man’ down and ask him to be his teacher.
It’s here that whatever plot that Bala had in mind begins to implode on itself, but before being too harsh on The Man Who Feels No Pain, it’s worth mentioning that for local audiences this may not necessarily be paramount to their enjoyment. Bala packs both the script and the screen with references to action movies of old, and for every reference there is to the likes of Armour of God, Game of Death, Die Hard, or Terminator, there’s at least 5 more referencing the macho Bollywood flicks of the 80’s and 90’s (the Indian title itself is an iconic line from 1985’s Mard). For a mostly ignorant viewer such as myself, almost all of these went over my head, however reading about the production in retrospect, it’s clear that there are plenty of homages thrown in for the discerning Bollywood cinephile to get a kick out of.
For someone that’s left to extract their enjoyment purely from the plot, characters, and action though, there are several issues. Dasani does indeed find the one-legged Karate Man, played by Gulshan Devaiah, and in one of those ‘only in the movies’ moments, his long lost childhood flame is also part of his idols ensemble. Played by TV actress Radhika Madan, apart from her Hammer Girl-esque wardrobe, she’s become someone that doesn’t know what to do with their life, and is engaged to a rich businessman who may be able to pay the bills, but doesn’t necessarily make her happy. As the Karate Man, Devaiah has also fallen on hard times, and this is where things get strange. The main villain of the piece turns out to be Devaiah’s twin brother, also played by Devaiah, whose small-time gangster has become a “stereotypical psycho” after Karate Man slept with his girlfriend.
It was at this point I was expecting some flawed character study of Karate Man, perhaps how he could never forgive himself for sleeping with his twin brother’s girlfriend and making him become a psychotic bad guy. But the fact that he indulged in this sexual faux passé, and just how wrong it was, is bizarrely never touched upon, and does zero to Dasani’s enthusiasm to emulate his hero. From this strange set of circumstances develops the main plot, which has Devaiah’s gangster relieve Karate Man of a pendant which he holds dear, and Dasani convinces Madan and Devaiah (who’s a highlight pulling double duty) that they should set out to get it back. It’s a wafer thin story, and almost feels like it’s no longer about Dasani at all, who spends his time mumbling around as the naïve and slightly goofy young adult who’s spent 12 years under house arrest.
The problem is that the pendant isn’t important to Dasani, apart from a poor attempt to connect it to his mission to avenge his mother, so from a plot perspective the audience doesn’t care if they get it back or not. Another problem is that Madan’s character is far more interesting than Dasani. Her woes about not having a direction in life and the pressures of marrying for social status feel unnecessary, and no doubt contribute to the bloated runtime, but at the same time they’re more interesting than Dasani’s childlike perspective on always trying to do the right thing. The viewpoint of seeing life through the lens of all the action movies he’s seen is a novel one, but at no point does it feel like he has a character arc, and when the credits roll he still feels like the overly idealistic cardboard cut-out that we meet at the start.
Which leaves us with the action. Bala may have requested for Rope A Dope style action, but it’s clear that he’s been a fan of The Stunt People for a while. The plot device from Death Grip, Jacobus’ sophomore feature length movie, which has the main character imagine how a fight is going to go down, before snapping out of it and having to face reality, is also applied here in liberal doses. Dasani is our narrator, and he’s an unreliable one, providing the audience with a view into how he perceives things. A re-telling of his birth has him comparing his mother to The Terminator, before he winds back and confesses his take was “too dramatic”. In another scene he witnesses Madan being harassed by a group of men, and proceeds to unleash on them, before it’s revealed he’s still stood there and is only imagining what he wants to do.
The fights themselves are entirely grounded, which is a welcome sight, however they haven’t escaped from the super slow-motion effect that Bollywood productions are obsessed with, with every flying kick subjected to the technique. The influence of Jacobus and Ruel is evident, with Madan’s Hapkido styled throws recalling similar moves we’re used to seeing Ruel pull off, and the visual gags within the fight scenes are of a distinctly different flavour than the humor found in the scenes that surround them. However if you’re clocking in to The Man Who Feels No Pain for the action alone, it’s worth pointing out that in such a long runtime, comparatively there’s not that much of it. Bala may have created a worthy homage to the action movies of yesteryear, but whether it stands up as a worthy action movie itself is another question. Time will tell if it’s remembered as fondly 30 years from now, as the movies it so joyously references.
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At the age of 14, I took the plunge in to the world of my favourite director, John Woo. The adrenalin rush seemed to last for days after watching the best pure action film ever made: 
Who’s our next Bruce? 
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