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Capsule Reviews

The Big Boss    (1971)
Bruce Lee’s first film for Golden Harvest was a powerful, awe-inspiring demonstration of this new star’s incredible physical talents and undeniable charisma.

Cheng (Bruce) is a young Chinese man sent to work for family friends in Thailand; earning money and keeping out of trouble. Upon arriving, he soon begins working at a local ice factory and quietly adapts to his new surroundings, enjoying his host family’s company and working hard. Whenever confronted by trouble, Cheng steps aside and avoids getting involved, instead grasping his jade necklace which rests around his neck as a reminder not to fight. But when friends at work start disappearing mysteriously and the owner of the factory may be responsible, Cheng must take matters into his own hands and expose the truth.

After a pre-dominantly TV-based career in the US that didn’t prove as successful as he would have liked, Bruce returned to Hong Kong and signed a contract with Golden Harvest, which proved to be hugely successful for the new company spearheaded by former Shaw Brothers producers, Raymond Chow and Leonard Ho. The Big Boss redefined the conventional style of martial arts action at the time, and contrasted greatly with other popular forms of onscreen combat, such as swordplay and adventure films. In comparison, Bruce’s fighting style was quick, elegant and incredibly physical – lightning fast bursts of movement punctuated by animal howls.

Here the other characters in the story appear as shocked as a contemporary audience, in awe of the amazing talents of this man set to re-establish the martial arts film genre. We see him take on several opponents at once, demolishing them one by one with kicks so fast, the recipient wouldn’t register their arrival until it was too late. Cheng also disarms countless attackers, knocking knives and other weapons right out of their hands before dropping them to the ground with a pulverizing final punch. Importantly, Cheng is not shown to be the instigator of violence, but only steps up to defend his fellow Chinese, whose safety and security is threatened by local Thais who act as foremen for the factory, and may have involvement in his friend’s disappearance. It is only when Cheng’s symbolic jade necklace, a symbol of his restraint, is smashed in an escalating battle that his expression changes and he lets out a wild animal howl - bursting into action.

Interestingly, this comes almost half way through the film and demonstrates his real desire for an honest, trouble free existence that shows him comfortably living with his new host family and working hard in his job. When the calm is eventually interrupted, the previously restrained Cheng becomes like a caged animal being unleashed for the first time. This was the first appearance of this new generation of Chinese hero, a likeable, relatable young man who had respect and tolerance for others but would readily stand up for anyone being victimized.

While the film may not appear as complex as Bruce’s later work, both in terms of fight choreography and story, The Big Boss set the bar remarkably high for an energetic new style of action cinema never seen before. Director, Lo Wei captures the exotic location with peaceful elegance and sun-drenched scenery, contrasting greatly with the brute violence that follows. It is Lo Wei’s cinematic eye where the film looks the best, with the use of beautiful natural colour and landscape; while Bruce’s electrifying action embodies Cheng’s all-out pursuit for the truth.

A wonderful supporting cast gives Cheng the opportunity to show his gentle side prior to the action shifting into high gear. Maria Yi and James Tien shine through with particular charm, while Hon Ying Git / Han Ying Chieh makes a truly villainous adversary for Cheng’s highly memorable final showdown.

Every Bruce Lee film has its own style and The Big Boss is no exception. It remains a firm classic of the genre and set a high standard for Bruce’s subsequent work, which, amazingly, he effortlessly maintained.
Mike Fury 1/28/2009 - top

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 1/28/2009 Mike Fury

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