O Voo do Dragão

Even though this movie was dubbed, and the dubbing isn't that great. the whole movie is great. I actually find this movie way better then Enter the Dragon. Plus, you got Bruce Lee, writing, starring and directing it, and he knew what to do to make this kung fu movie awesome. I reccomend this one to any kung fu fan who has not seen this one yet... i give it 9 out of 10.

Bruce Lee really rules. Before this I had seen only "enter the dragon". It is usually considered to bee his best film, so I didn´t really know what to expect from "way of the dragon". I liked it very much. Biggest problem I had with it was that I had to watch the english dubbed version. I prefer the original language! Lee really knew how to entertain the audience. He was funny, but not too funny. I particulary enjoyed the last fighting scene when "Colt" was defeated. For once the bad guy went down with honour! I recommend this to anyone who likes a good kung-fu movie. There might be better ones, but no complains. 8/10

Although this is technically not Lees greatest film, it is a personal favourite since Lee was in full control and everything is pure Lee. Many have wrongly stated this film is bad, having not seen the originals where you can really appreciate the composition of the showdowns (visual director with potential - see the rare 'rocking chair' shot in Game of Death). The script is bad in a few places, particularly the humour, but this film was never inteneded for the west, but designed to appeal to his country men.

Now, the film features the best array of fighting sequences ever commited to celluloid. Obviously influenced by Sergio Leones trilogy, tension is excellently built up before fight. The sequences are not overly choreographed or played in slow motion or 'lightly' then speeded up, but contain a raw, feral edge combined with breathless technique. The perfect marriage between art and realism.

The fights with Wong Ing Sik and Bob Wall while short, are underrated even by Lee fans. Those who have been lucky enough to see the double nunchaku sequence in full, will have witnessed one of the best display of weaponary ever shown on the silver screen (along with the 'original' and 'complete' nunchaku footage from Game of Death and the wonderfully comprehensive display of martial arts in the underground Enter the Dragon sequence).

And then theres THAT coliseum fight. Perhaps the start is abit overdone (But Lee wanted to put forward a point i.e. don't play to your oponents strength), but it is undoubtedly the best expression of the human body ever, whether fighting, dancing, running whatever. Those brought up on Latter day Chan stuff and in particular Jet Li fights, will not appreciate this piece, but those knowing anything about the fighting arts or good choreography will be shaken not just stirred.

Bruce Lee demonstrates why without ever being a tournament champion that he was one of the best martial artists of all times. His speed and technique easily out class the other real martial artisits this film presents. His fight with Chuck Norris in this film is legendary. Watching Chuck in his prime is intense, high speed and accuracy. What scares me is that Bruce is faster. And even though he is lacking size, its obvious that the little dragons power is intense. Yes the scenes in these movies may be choreographed, but it's hard to make duplicate the skills shown by these fighters with trick photography and ballet lessons.

This is the first film Bruce took a major role in both on and off the set. He searched for quality martial artists for the fight scenes and was the one who reccomended Italy for this shoot.

The film revolves around a restaurant in Italy run by Lee's uncle and his (assumably ) cousins. Local gangsters try to close the restaurant down and get a piece of the action. To avoid complications with the law, they try and man handle the resteraunt owner and workers and Lee comes to the rescue.

If, like me, you have only seen Bruce Lee in the wonderful, but portentous, ENTER THE DRAGON, than you might be surprised by this quite potty earlier film. In ENTER THE DRAGON, Lee was amused, but sombre; a fighting machine, pivotal piece in a deadly serious mythological puzzle, his strength never in doubt.

The first third of this film couldn't be more different. Played as (very funny) comedy, Lee is passive (we first see him waiting for someone), a figure of fun, a fish out of water, exagerratedly polite, bewildered by alien custom and language, as well as his own bowels. A number of scuffles take part early on in which he takes no part, and which make us doubt his prowess.

Lee directed this film, and his visual conception is much more inventive that Robert Clouse's (ENTER). Although it lacks the insane invention of A TOUCH OF ZEN, or the dizzy verve of Tsui Hark's films, Lee is not content with simple ego gratification. His two directorial mentors seem to be Melville and Leone. The former (hugely influenced by Oriental martial discipline himself) gave him a hero who is narcissistic (check the opening shot), whole; whose physical prowess is ironically the result of mental superiority, an almost Zen laid-backness; concealing the coiled, taut, muscle-burst of Lee's beautiful body.

Kung Fu is primarily an art of self-defense, and this film returns to these roots: its conception of protecting the oppressed rings throughout the film (in the seemingly gratuitous picture-postcard scenes, Lee makes the connection between European colonial splendour, and the poverty and repression of Hong Kong). Chuck Norris's character has betrayed Kung Fu by siding with the oppressor - his art is bestial and clumsy, lacking the spare geometric elegance of Lee's.

But Kung fu's self-defense is also a defence of one's 'self' (this is where Melville comes in) - it protects one from any threat to one's powerful wholeness, especially women (and men. There is a slight whiff of homophobia, mitigated by the outrageous campness of the film (all that red! The whole idea of SHANE recast in a restaurant!). This is ironic, since it is the proof of Lee's martial art power that makes the initially sceptical heroine (very stylish and lovely) fall for his charms (and who can blame her?).

Lee's second master is Sergio Leone, from whom he has learnt an irreverent approach to genre, with jokey zooms, close-ups and cuts; mocking, yet mournful and melancholic Morricone-esque music; a ritual stand-off between mythical archetypes (an awesome set-piece in the Colosseum), with the film's heart belonging to the slightly silly, but loveable, subsidiary characters.

The use of these iconoclastic directors adds a reflective and critical dimension to a genre previously (in its most populist form) a showcase for male vanity (although Lee never lets us forget how gorgeous and sweetly small and cuddly he is). A supremely entertaining film which unexpectedly achieves a climactic power and melancholy.