Retro Cinema: King Boxer (AKA 5 Fingers of Death)

It's a pity, but it's probably mandatory for modern film fans to know a little history before watching King Boxer (better known in the US as 5 Fingers of Death) for the first time. Otherwise, you might watch it and think: "Fun little movie with great kick-butt action, but what's all the fuss about? Why do some people think this particular kung fu movie is so great?"

Bruce Lee had given US television viewers a taste of martial arts in his sidekick role as Kato in The Green Hornet (1966-1967) and David Carradine further whetted appetites with the TV show Kung Fu, which debuted in February 1972. Of course, Hong Kong had already produced dozens of martial arts films, many of which played on the Chinatown movie theater circuit in the US, but even for a seasoned viewer, Korean director Chang-Hwa Jeong (AKA Chang Chang Ho) worked several new twists into the familiar fabric. For moviegoers in general, King Boxer was a sucker punch to the gut, featuring fighting styles never before seen on screen, surprising in its extreme violence, and filled to the brim with socko brutality and in-your-face action. No wonder its theatrical release kick-started the kung fu craze in America.

I was a big fan of Kung Fu, but there was no way my parents would ever let me see an R-rated movie in the spring of 1973, much less one that was already fabled for its bloody violence. So I sulked and listened jealously while school friends raved about how "cool" the movie was -- especially when the guy got his eyeballs gouged out! More than 30 years later, the violence has long been surpassed, which allows the strength of the storytelling, characterizations, and action choreography to come to the fore.

Lo Lieh stars as Chih-hao, a humble student of old, respected Master Sung Wu-yang. Master Sung is attacked for no apparent reason by a gang of men led by the bald, fur-wearing Wang Hau-yan. Master Sung more than holds his own against the aggressors, but he is forced to acknowledge that his skills have diminished. He wanted to help Chih-hao win an important, upcoming martial arts tournament; the champion would become the "king of martial arts" in the five provinces of the North and gain great power.

Master Sung is fearful that a fighter from a rival school run by Master Meng will win, cementing their oppressive ways. He decrees that young Chih-hao should travel to the school of Master Suen and receive training there in hopes of becoming champion. Chih-hao does not want to go; he was orphaned at a young age and considers Master Sung his father as well as his teacher. Besides, he yearns to marry Master Sung's daughter Ying Ying. He'd be perfectly content to never leave his adopted home, but Master Sung insists, and Chih-hao obediently begins his journey north.

We learn why Master Sung is so concerned about Master Meng. Meng's son Tien-hsiung strides through town as though he owns it, demonstrating no concern or empathy for the villagers. When a stranger wins a street brawling contest against a Mongolian strongman, Tien-hsiung insists that the stranger cannot take his winnings unless he first defeats Tien-hsiung. As the two square off, Master Meng breaks up the fight before it gets started. He is evidently a shrewd judge of talent; he recruits the stranger, named Cheng Lang, by painting himself as "a modest martial artist," interested only in the people. He's no such thing, of course; he is plotting behind the scenes to ensure that his son will win the upcoming tournament by wiping out the competition. Tien-hsiung was the one who ordered the unsuccessful assassination of the honorable Master Sung, and he also wants to scare off his other rival, the school of Master Suen.

On his way to Master Suen's school, our quiet hero Chih-hao crosses paths with would-be assassin Wang Hau-yan. Wang and his nefarious gang want to kidnap a pretty singer, Miss Yen, but are foiled by Chih-hao when he comes to her rescue. (The respectful Chih-hao maintains his chaste honor even when Miss Yen innocently flirts with him.) Chih-hao arrives at Master Suen's school, but a quick sparring match with the school's best fighter, Han Lung, reveals that Chih-hao is woefully unskilled by Master Suen's standards.

Don't despair: all this plot description barely covers the first 20 minutes of the film. Director Chang-Hwa Jeong dispenses with lengthy exposition, quickly establishing story points with a quick scene or two before racing off to the next fight. It just goes to show: you may come for the fights, which are deftly staged and filmed -- often featuring punches and kicks delivered straight into the camera -- but all the other elements that make a good film are present as well, just waiting to be explored. I haven't even detailed how Chih-hao trains his "Iron Fist" (and the accompanying red-lit hands set to the tune of the siren-like Ironside musical theme by Quincy Jones that Quentin Tarantino borrowed for Kill Bill), or the back-stabbing betrayals, or the trio of hired Japanese assassins, or the martial arts tournament itself.

Lo Lieh is a solid anchor as Chih-hao, an exceedingly modest character who expects nothing and wants nothing more than to be with his family. It's an interesting take on honor: he's not concerned at all about his own honor, but he will fight to the death those who challenge the honor of those he loves and respects.

King Boxer transcends its time and genre. It's a marvelous family drama lightly sprinkled with social consciousness, a rebel attitude wrapped in traditional garb, a classic action piece surrounded by memorable characters. In short, King Boxer rocks.