Cinco Dedos de Violência

This is truly a kung fu classic. This film appears to have influenced martial arts films for decades. The Spanish guitar background music, the competing schools, the impossibly high leaps onto the edges of rooftops, catching thrown spears, cheating in tournaments, the secret training for an exotic karate technique, themes of patience and perseverance, and more were copied by many later films such as "The Karate Kid" (1984), "Hero" (2002), "Kill Bill Volume 2" (2004), and "Kung Fu Hustle" (2004).

I feel lucky to have first seen this film in 1972, shortly after it was released, just before kung fu films became mainstream and before Bruce Lee became a household name. I saw it with two buddies of mine in a downtown San Diego theater frequented by sailors, and although the scenes of the glowing red hands and gouged eyeballs got some laughs, clearly the audience was getting into it, as was our little group. It was a very memorable movie for me. Decades later I could still recall several specific scenes, even after I had forgotten the film title. This film is extra special to me now because one of those two buddies with whom I first saw it (sailor Kenneth Lee Hines of the Kitty Hawk) has since passed away, so this film serves as a memento of that day together before we took judo and karate lessons in subsequent years.

Relative to kung fu films, I'd rate this film as 10/10. But since I have to keep the larger film audience in mind, I'll more objectively rate it as 8/10, due to obvious technical flaws. I just recommend that neophyte viewers consider those technical flaws to be proof of its vintage nature and of its authenticity, and then merrily proceed to enjoy its testosterone-charged mayhem.

This is my favourite kung fu movie. It has a very authentic flavour, seasoned by an eerie music score (of tradition chinese instruments, I think), and some wonderfully over-acted melodramatic moments contrasted by heavily affected comedy. Indeed, while attempting to create their own "Western" (i.e. Cowboy film) genre, the Chinese concocted a whole new animal, marked by kung fu fighting and its associated sound effects.

The story of Five Fingers of death is simple, a story of revenge (for killing a loved one) and the pursuit of the main character to master the "iron-fist-technique" that will enable him to wreak holy vengeance on his enemies. There is even a love interest, though the awkward, polite kind (found in most Chinese films of the period). The end result however is great and much more authentic than any Bruce Lee movie.

Five fingers of death: Although previous Shaw Martial Arts epics had shown the influence of the American cowboy genre, none had paid such open tribute to it as this one, especially in the saloon fight scene. And though Shaw Bros. films had borrowed from the Japanese chambara (swordfight) genre before, none had done so with such success as this one. i suppose some of this had to do with the fact that the director originated from Korea, and thus brought a non-Chinese perspective to such borrowings, which certainly raises some interesting questions about culture; but in any event, this film presented real innovations in technology and technique in Hong Kong action films. for the first time in Hong Kong, the camera was given access to the whole of any given set, which meant shots from many different angles, such as the low-angle interior shot showing the ceiling of a room (the original American innovation of which usually credited to John Ford), or the high angle long shot that allowed visualization of a large ground area, or the frontal tracking shot.

It is true that this was not the first hand-to-hand combat film of real cinematic substance - that remains Wang Yu's 'Chinese Boxer'; but on a commercial level, Shaw Bros. were right to choose 'Five Fingers' as their first major release to the West because, one might say, it was the 'least Chinese' of their action films, that is, the least dependent on purely Chinese theater traditions. Although this made no impression on the American critics at the time (who universally trashed the picture), it wasn't lost on American audiences, especially among African Americans, whose culture had always been - by necessity - an eclectic patchwork of borrowed elements and innovation. In 'Five Fingers' they were given the opportunity to discover the core of the story, in the earnest young man forced to make the extra effort to overcome social barriers and betrayal in order to have his merit recognized. This seems to be an issue universal to Modernity, but each culture has its own way of expressing and resolving it; 'Five Fingers' presented it in a way many Americans could relate to as well as Chinese.

So is the film now only of historical value? Certainly not. For one thing this issue hasn't gone away. Secondly, some of the innovations leave much of the film looking as fresh today as it did on first release. Also the action is well-staged, and the performances, though a little too earnest, are crisp. The film is a might over-long, but the story does cover a lot of ground. And there are marvelous set-pieces through-out, such as the saloon confrontation, the fight on the road to the contest, the odd double finale.

definitely looks better on a theater screen, but still impressive for home viewing: recommended.

This was the very first kung fu movie that I have ever seen. The dubbing is not the greatest but alot better than some that I had seen. The plot is much better than some that are made today. It is gory at times but that is what gives it that special push. Academy award material is it not. But if you like to watch fights and a decent story backround, this is for you!

Released as KING BOXER in the U.K.

This film was essentially the FIRST kung fu film to go on general release in the U.K. Many of us had ratcheted through Kurosawa's astonishingly gritty and involving dramas and were used to oriental film being beautifully shot and lit, with somewhat restrained pacing, all in all like leafing through an album of very fine still photographs that just happened to be moving.

Along come Run Run Shaw and co. with their widescreen "home movie" production values, and astonishing ripe-for-parody dubbing and all the rules have changed. KIng Boxer was the first in through the door, leaving a clearly marked trail for others to follow with their feet planted firmly on top of the blazed footsteps.

In spite of hokey plots, pantomime acting, cheesy jump-cuts and spaghetti western style snap-stepped zooms, this film was marvellous. Gorgeous without being opulent and with the most brilliant fight choreography ever to grace a screen. We loved the sickening violence, the anguish, the testosterone. The martial artists among us found some of the techniques fascinating, if flamboyant and oftentimes silly. It was so very different from the Japanese stuff we all knew, and it had lovely acrobatic grace that perfectly complemented the sickening violence and bloodstained floors. Delightful.

The "KIng Lear" scene was, at the time, quite a milestone in schlock "You cruel bastards.. My **** !!" Now it's rather less shocking, but still a bit of a gut-churner

We didn't notice that any females in sight were absolutely one-dimensional. After seeing more films of the genre, it now stands out like a sore thumb, but at the time it didn't matter

This film defined what would rapidly become the kung-fu movie clichés. All of them. Watch it and remember that until this burst onto the western screens, there was no genre for it to slot into. It was unique and awesome. It was the first kung fu movie and it still is, for me and many others, the best.