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Jackie Chan was 40 when he stepped back into the role of young Wong Fei Hung in this sequel to his 1978 breakthrough comic hit,
Drunken Master. In the ensuing years the character, one of China's most popular folk heroes and a cinematic staple for decades, had been taken up as a quiet, introspective healer by Jet Li in the first three films in the fabulously popular series of films
Once Upon a Time in China and in the more comic
Last Hero in China. Chan returns Wong Fei Hung to the mischievous youth of the original film, an impetuous rascal with the skills of his healer/martial arts master father (Ti Lung of
A Better Tomorrow) and the impulsiveness of his conniving, fun-loving mother (Anita Mui). Comic mix-ups and misunderstandings land Wong in the middle of a plot by British smugglers stealing Chinese treasures and enslaving local workers in an iron foundry. This mad mix of slapstick comedy, energetic action, and melodrama offers some of Chan's finest fight scenes, a series of tightly choreographed, highly acrobatic skirmishes that build in intensity to the battle royal in the foundry where Wong dodges coal carts, parries sneak attacks, and crab walks through red-hot coals while taking on a succession of comers. Though 20 years older than his character, Chan pulls it off with grace, energy, and youthful vigor.
--Sean Axmaker
Jackie Chan in mint condition, fighting off an axe gang with a wooden bench in each hand. Colonial China as a place where even friends greet each other with a bit of fist play. These are the hallmarks of a classic kung-fu film. What surprises are the finely wrought scenes of Chinese daily life (the market, the train, the school courtyard) and the sprightly comic performance of Anita Mui as a mah-jongg-obsessed wife. Chan made this film in 1994 as an homage to "Drunken Master," the 1979 film that turned him into a star, and the final twenty-minute fight scene inside a steel mill is considered one of the genre's high-water marks. For this rerelease, the dialogue has been dubbed into English, and the mismatched mouths take you back to the Saturday-afternoon double features of days gone by. -Michael Agger
Copyright © 2006
The New Yorker