Planet Hong Kong: Popular Cinema and the Art of by David Bordwell

By David Bordwell

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Extra resources for Planet Hong Kong: Popular Cinema and the Art of Entertainment (Second edition)

Sample text

At age six Lee again appeared in a film, and over the next several years he won fame as a child actor in Cantonese movies. He began studying boxing and martial arts in his teens. He left Hong Kong to attend college in the United States, where he opened kung-fu schools and became known as a controversial teacher. Thanks to connections in the film industry, he won a continuing part in a TV series, The Green Hornet (1966–67), as well as walk-ons in other programs and in a film (Marlowe, 1969). The Golden Harvest company approached Lee in Los Angeles and offered him a two-picture contract.

He accepted and flew straight to Bangkok, where he and director Lo Wei filmed The Big Boss (1971; known in the United States as Fists of Fury). 2 When the films broke local box-office records, Lee was in a position to demand an unprecedented arrangement from Golden Harvest. He and the president Raymond Chow Man-wei formed a satellite company, Concord, which allowed Lee to produce, write, and direct his own films. S. title, The Return of the Dragon). Lee and Chow also went in on a coproduction with Warner Brothers to make Enter the Dragon (1973), his most widely seen film in the West.

Such scenes, like the triads’ lion dance outside the Majestic Theatre the night I visited, point up another area of fascination for local audiences: the underworld. “I won’t go to the movies,” a cab driver curtly told me. “It’s a business run by triads. ” Hong Kong is the world capital of the heishehui (“black societies”). Since the end of World War II triad gangs have controlled extortion, gambling, heroin smuggling, and prostitution. Their networks stretch through Asia and into Europe and North America.

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