Film review – Drunken Master (Yuen Woo-ping, 1978)

Two decades before Jackie Chan broke into Hollywood with box office smash Rush Hour, he was making another significant breakthrough in his career. Snake in the Eagles Shadow and Drunken Master were both released in 1978 by Seasonal Film Corporation. They marked Chan’s first mainstream success as a lead actor and showed him to be a realistic option to fill the gap in the market left by Bruce Lee following his unexpected death in 1973.

Chan had worked as a stuntman on two of Lee’s biggest films: Fist of Fury and Enter the Dragon. But it took the two action comedy films in 1978 for him to rise to prominence and make the world pay attention to just how entertaining he is on screen.

Drunken Master, which has recently been remastered and issued in HD on Eureka’s Masters of Cinema label, tells the story of Wong Fei-hung (Chan), a young martial arts trainee with more confidence than ability. A couple of incidents in his local town lead him to be disowned by his father – a martial arts master – and he is forced to train with the great but harsh Beggar So (Yuen Siu-tien). Beggar So is a master of the secret martial arts techniques of the Eight Drunken Immortals, and Wong must train with him to master the techniques to defeat the notorious killer Yim Tit-sam (Hwang Jang Lee).

Once Chan appears on screen for the first time, his charisma and charm are there in plain sight. He commands the screen and plays everything for laughs. It feels entirely effortless and he inevitably carries the entire film.

The plot and delivery border on the ridiculous. There are comedic sound effects added to every single move in every fight, which may take some getting used to for newcomers to the genre, although why they would start here is beyond me.

The martial arts on display is exemplary, with Chan clearly an expert in his art to the point of making his character look completely believable as a poor student. Also notable are Hwang Jang Lee’s Taekwondo displays, which are utilised to great effect.

Inevitably, if you’re seeking out this film you’re probably doing so to see the origins of Jackie Chan’s career. On that level, you won’t be disappointed as it shows a young actor having fun finding his feet in a lead role. An underrated gem.

Drunken Master can be purchased on Blu-ray now. It is also available on U.K. Netflix.

Film review – 아가씨 / The Handmaiden (Park Chan-wook, 2017)

Park Chan-wook’s latest release is a twisting psychological thriller steeped in eroticism and oozing class that works its audience brilliantly. The only drawback was that I didn’t have time to see it a second time.

Set in Japan-occupied South Korea, the film tells the story of an elaborate plot to rip-off a rich Japanese heiress named Lady Izumi Hideko (Kim Min-hee), who is living in an extravagant and luxurious mansion under the authoritarian Uncle Kouzuki (Cho Jin-woong). The plot is being masterminded by a conman calling himself Count Fujiwara (Ha Jung-woo), and involves him marrying Lady Hideko and subsequently committing her to an asylum to steal her inheritance. To do this, he brings in Sook-hee (Kim Tae-ri), who is a professional pick-pocket, to work as Lady Hideko’s handmaiden in order to get close to her and influence her feelings towards the Count.

This fantastic plot is based on English novel “Fingersmith” by Sarah Waters. It is brought to life with perfect execution by director Chan-wook. As is typical of his films, The Handmaiden inhabits a uniquely-realised world that features traditional elements mixed in with gothic undertones. It’s a stunning visual achievement and one that is completely absorbing. 

Central to the plot is Uncle Kouzumi’s outlandish book collection, mainly erotic in nature and all extremely rare. He is producing forgeries of the books but is involving Lady Hideko in highly-exclusive book readings of the most sought-after novels, usually for an all-male audience who each will bid on the books in auctions after the readings. Whilst the forgeries provide an additional reason to hate Kouzumi – other than his generally disgusting appearance and the contents of his mysterious basement – it is the contents of the book that also serve to further the sexual drive of the story.

The scenes where Lady Hideko reads excerpts from the books whilst the audience listens intently are some of the best moments of the film, creating suspense with nothing more than an authoritative delivery from Min-hee and some attentive camerawork.

Indeed, the sly glances and subtle reactions are what makes the acting performances so believable. This is a game of tension, both mentally and sexually. The two central female characters are falling in love with each other, but they are also engulfing their desires in a sexual lust that makes Soo-kee’s original plan increasingly difficult to carry out. It is surprising as an English viewer that this traditional period drama setting doesn’t portray this desire with mere suggestion and topped-and-tailed sexual encounters. There is literally no holding back, which I’m sure many will find crass, but I found it essential to the plot and executed with enough artistic integrity to not be considered as superfluous.

This is simply one of the best films I’ve seen all year and one I can’t wait to see again once the extended cut is released on home media later this year. I can’t recommend it enough.