Martial arts films didn’t start with Bruce Lee and they have continued long after his tragic 1973 passing at age 32. But Lee changed the way that Asians are portrayed in film and bridged the gap between the East and the West, in the process redefining what it was possible to do in martial arts movies.

Many of the Vegas casino online real money slots have been influenced by Lee. You can binge on some of the top Bruce Lee movies, play some slots and read about this remarkable actor, stuntman, fight choreographer and filmmaker who truly understood how important it is to the viewer to see a realistic fight seen in a long, unbroken take.

Lee’s films departed from the then-accepted standard of careful shooting and quick cutting that allowed a stuntman to substitute for the actor. Lee’s movies were famous for giving viewers a chance to see the real deal — Lee himself, kicking and throwing punches.

Lee was recognized as a charismatic actor, a natural star who drew viewer admiration and inspiration as he brought the image of an intelligent and well-schooled Asian leading man to the screen. After his first appearance as Kato, the driver/bodyguard in The Green Hornet, Lee left Los Angeles to produce his films in Hong Kong where, he was sure, he would be able to make movies in a way that would promote his vision of how an Asian man could and should be portrayed to the Western world.

Some of the top Bruce Lee movies for a binge festival include:

The Big Boss

The Big Boss was released in 1971 and is Bruce Lee’s first starring role on the big screen. In the film, Lee portrays an ice factory worker in Thailand. He discovers that the Big Boss is a crime lord who uses the ice factory to cover up a drug smuggling operation.

Lee wants to stop this criminal enterprise but he is bound by an oath that he made to his mother to forgo violence at all costs. After the crime boss and his henchmen continue to threaten Lee and the honest way of life that he wants to defend he has no choice but to take on the whole criminal crew and do his part to ensure that they are unable to carry out their plans.

Fist of Fury

Fist of Fury was made in 1972 and was Lee’s second film in which he had a starring role. In the movie he portrayed Chen Zhen, a kung fu student of Huo Yuanjia in Shanghai in 1910. Yuanjia was a controversial historical figure who was the co-founder of the Chin Woo Athletic Association and practitioner of the Mizongyi martial art which he used to defeat foreign fighters in highly publicized matches, earning him the admiration of many Chinese and the enmity of many enemies.

In the film, Yuanjia dies and Japanese karate dojo students show up at the funeral to mock him. Zhen suspects foul play and prepares to fight with the resulting kung fu vs. karate delivering a high-action martial arts event.

The Way of the Dragon

In 1972 The Way of the Dragon Bruce Lee wrote,  starred and directed the story which takes place in Italy. The plot revolves around  a restaurant owner in Rome who calls home for help after he is threatened by the Mafia. Bruce Lee, seemingly a bumbling country bumpkin, is the one who arrives to protect the business and he quickly makes it clear that he’s anything but clueless which then forces the Mafiosos to get some reinforcements of their own.

Chuck Norris, as one of the Mafia’s back-ups, goes head to head in several scenes which gives movie-goers a chance to see Norris’s debut in his own line of fighting flicks. The Way of the Dragon was Lee’s last film to be released during his lifetime, making this a special viewing experience.

Game of Death

Game of Death was originally scheduled to be released in 1972 but after Lee’s death, director Robert Clouse, who directed Enter the Dragon,  filmed the final scenes and released the movie in 1978, a decision that ignited a firestorm of criticism. In the movie, Lee plays a movie star who is also a professional martial arts master. He resists pressure from a criminal syndicate that wants him to pay them a percentage of the film’s take.

An assassin shoots Lee in the face but he survives and undergoes reconstructive plastic surgery before going undercover  with an altered appearance. Now he can exact revenge on those who tried to terrorize him.

The final Game of Death includes only 11 minutes of footage from Bruce Lee before an alternate actor is cast but those 11 minutes are action-packed Bruce Lee at his best as he takes on his real-life student, basketball legend Kareem Abdul-Jabbar.

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Japan has certainly become known for its horror films, but perhaps what the country isn’t known for is its love of bingo. As one of the few forms of gambling to be permitted in Japan, alongside the likes of pachinko, bingo has become very popular in gaming halls as well as online.

As a result, it shouldn’t come as a surprise that Japanese cinema concocted the novel movie Bingo, from Yôhei Fukuda, with the 2012 movie being based on a short story by writer Yusuke Yamada. However, instead of the thrills of getting the correct numbers in the classic game, having the right numbers spells doom in Bingo.

Bingo has changed drastically over the last couple of decades, and yet, at its core, it’s still the game of numbered balls that people love. This is especially true in Japan, with the online variety proving to be the major draw for bingo players.  

Now, when you play online bingo games, you’re met with colorfully animated games that are filled with features and exciting graphics. You’re still looking to get your numbers virtually dabbed on your bingo sheet, but you could be hoping for a feature to trigger in a game like Age of the Gods bingo, or the jackpot to fall.

In the Japanese movie Bingo, the opposite is true. Rather than having a sheet of numbers that you’re hoping to get called, the people in the movie Bingo become the numbers and await their fate. The premise of this dark bingo game is that Japan has altered its death penalty in the future to include the families of victims, who can then play bingo to decide who of the guilty party’s relatives get executed.

Starring Sakiko Matsui (formerly of AKB48) and Kazuki Shimizu (Super Sentai series) as one of the game’s operators and a prisoner, respectively, Bingo makes even its namesake game nerve-wracking. From prisoners trembling at the sound of the ball cage turning to them having to face the victims while this torturous game plays out makes for a quintessentially Japanese horror, not unlike the recent hit series Squid Games.

A love of making the mundane horrifying

Many western horrors often run with a supernatural being suddenly presenting themselves as a threat or someone going crazy and on a killing spree. They’ve often contained films that attempt to deliver the adrenaline rush through jump scares.

By comparison, the best Japanese horror films are more nuanced, taking something mundane and turning it into a source of tension or even as a reflection of the writer’s view of society. The trailblazer of this genre to break out of Japan was Ringu, or Ring. It expertly creates tension, chills, all while playing off of the late-90s paranoia of technology, being centered on a VHS tape.

Bingo sets itself up as a way in which a futuristic Japan has brought back the death penalty. Still, in order to bring the kind of closure to victims that is very innate and even vengeance-driven, as so many people feel they desire, it incorporates the lottery game, adding tension by the bucket load. Battle Royale similarly commentates on fear of youth violence in society through a game of last-person-standing turned deadly.

Bingo truly is one of those Japanese horror gems that you should add to your watch list. It may not be the greatest of the genre, but its eerie application of the classic lottery game will have it stick in your mind forever.

It would be difficult not to notice the recent Korean influence that has suddenly appeared on social media. Not only the hugely popular Squid Game, but just about everything Korean is becoming popular, including Korean pop stars and the latest weepy Korean drama that everyone is raving about which has actually introduced Indians to the way of life in Korea.   It is possible to have immediate access to anything remotely Korean, in just about the same way that it’s possible to get immediate access to a Jackpot Capital casino download!

It was Bong Joon Ho, director of Parasite who said during his 0scar winning speech “Once you overcome the one-inch barrier of subtitles, you will be introduced to so many more amazing films.”  Well, it seems to have happened, and with very little promotional work.    Despite the language barrier, the Koreans have somehow managed to get their content out there and noticed all across the planet, in spite of the language barrier.   Korean culture has become part of the world pop culture.

The Korean wave

Korea has come a long way since it lifted its ban on foreign leisure travel in 1989 that was put in place because of fears about foreign currency depletion and when foreign debt was rising.    It started with just a few films and some dramas, like ‘Old Boy’, Autumn in My Heart and ‘Winter Sonata, to name just a few.  Now that situation has literally snowballed into the Korean wave, or Hallyu, which is forging its way around the globe and steamrolling the competition.

In American, Levi jeans and the Apple phone had a huge influence on pop culture and in the same way we are seeing South Korea having a huge influence on world pop culture. This is likely to be something that will continue especially with entertainment content and the growth and popularity of OTT, which was also aided by the pandemic and lack of new content.

Can India replicate the Korean success?

India is also spinning from the impressive content that the Koreans have put out. Is it possible for the Indian entertainment industry to replicate the success of the Korean entertainment model?    Today the Indian Prime Minister is offering subsidies to filmmakers, that they should make in India but could it really be that there will come a time when Indian content is appreciated and dominates world pop culture? What would it take?

Relatability

The global appeal of Korean content seems to be that it is relatable.  For example, ‘Crash Landing on You’, the Korean drama.  While the plot is connected to the struggle between North and South Korea, which is something most of us know very little about, the love story is fresh and is relatable to anyone living in Sweden as it is top someone in Korea.   The filmmaker, Sanjay Gupta who has done remakes of Korean films like ‘Zinda’ and ‘Old Boy’ says “They are staying true to emotions, which is a universal language.”

The popularity of Korean content in India according to Filmmaker Anand Pandit has to do with how it sits with Indian sensibilities.  According to Pandit when speaking to ETimes, “The Korean psyche is quite linear with ours.  It is cleaner, has family values, emotions, and a little bit of everything.  It is almost packaged like an India film.  They also have better technology and better writing (dialogues) and even the screenplays are good, so I personally like it.”

Even though Korean content is relatable it is by no means perfectly tailored for the world audience.   The content still focusses on things which concern Koreans specifically, like Korean festivals and, of course it is in their language.   However, it is the storytelling which is drawing in the foreign audience.   The madly popular ‘Squid Game” focusses on the class division that exists in the country and the games in the show represent Korean culture, it has nevertheless captivated audiences around the globe.   According to filmmaker, Mahesh Bhatt ‘The reason for Korean content getting such adulation is because Korean cinema has dared to remain true to its roots instead of trying to imitate Hollywood cinema, which is the tendency in some of our filmmakers here.  You can see their efforts to climb onto the Oscar platform and gain acceptance on the basis of the terms laid down by the Americans.”

So, what is the problem?

Sanjay Gupta agrees with Bhatt, but goes further saying “Eighty percent of the content produced in India is dictated by studios or OTT platforms.  They are primarily looking for a pan-India success instead of stories that will find universal acceptance globally. Their focus is not on the world stage right now.”  Kubbra Sait, who is the actress in the international show, ‘Foundation’ also says that the reason that Korean content is successful is because of “the urge to entertain without defining the reason to do so. We are consumed by grabbing eyeballs and seats in the cinema halls. We are driven by hero-centric films.  For eons now we’ve insisted and preached content is king, but we’ve treated it like the court jester. In recent ties, smaller budget films, regional films, and stories that matter have always found their way to the heart of audiences. We are growing mentally and emotionally, hence we need content that caters to our sensibilities and our fabric too.”

Reaching that potential

So, is it possible for the Indian entertainment industry to succeed as the Korean industry has?   According to Chhitra Subramaniam, Senior Vice President Creative and Production, Reliance Entertainment Studio “There is huge potential in Indian stories and content.  Going by how K-dramas and Korean content has exploded in popularity across the globe, Indian stories and content have huge potential as well to cut across a global audience.  The key is to write and tell the stories in a way that appeals to a globus audience without losing our authenticity”.

Government support is needed

The importance of government subsidies should not be overlooked but in order that entertainment content is really global those creating content need to be free to explore. Kubbra says “I hope, pray and wish that our content doesn’t further get subjected to political agendas and righteous behavior.  We need to eliminate the sacredness and our compelling nature to be offended by everything and everyone. Cinema is a form of art and storytelling…you can’t tailor-make it to suite everyone’s narrative.  Let’s drive our honesty and truth.”

The show, “Squid Game” was made for around 21 million dollars, has become the most watched show globally and has generated 900 million dollars.   In the next few years, Netflix will invest around 1 billion US dollars in Korean content.  Bhatt says “If Indian content doesn’t measure up to the content generated by Korean, Turkish, Iranian, Israeli entertainment industries, then it will be thrown in the dustbin because now the whole game has become global.  You have to make content that resonates globally.  We are so inward- looking, we haven’t looked beyond our frontiers.  This is a major phase of transition.  The government of the day and the subsequent governments should realize that unless you take away the though-police on content creators, you’ll not be able to come to par with filmmakers of these nations. Neither will you have the thought audacity not the technical expertise required to make such content.”

It is the opinion of Subramaniam that in order for India succeed, it should copy the Korean model.   She argues that “The Korean Government took concerted efforts over two decades ago, to export Korean popular culture and post that, their government along with the chaebol (large Korean conglomerates) pumped in money and resources to create a conducive atmosphere for young storytellers to tell those stories.  First, they banned censorship laws which provided immense opportunities and freedom to young talent to express newer ideas in newer ways. The government and chaebols funded the skilling of writers, talent and encouraged the eco-system to develop.  They spent on operational excellence and fostered controversial never-seen-before topics. For India to grow more, The Korean learnings and impact are there for us to replicate easily.”