Not-So Random Film of the Week: Way of the Dragon/Return of the Dragon

Hey, look! it’s that time of the month again – you know, when us guys get together and do the usual, but in public and with way too many people watching (well, hopefully). Yes, it’s time for an all-new (but not very much improved) installment of…

(theme song plays):

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If you did NOT hear a theme song, let me know. I paid some guy on eBay a pretty penny for a theme song. Hmmm… I think I need to stay off eBay for a while…

This month’s other entries can be found at Mike’s Take on the Movies, The Cinema Monolith, and Wolfman’s Cult Film Club, so go get reading (you’ll need your own popcorn and beverage of choice, though).

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A bit of misleading marketing copy here thanks to this getting a US release after Lee’s unfortunate demise and Enter The Dragon popping up in theaters first in the States.

If my fading memory is correct, the first martial arts flick I’d ever seen was Way of the Dragon (or Return of the Dragon) sometime in the mid 70’s on a black and white TV, either on WOR or WPIX, I believe.  It was pretty horribly dubbed from what I recall, but then again, so were way too many foreign films of all genres from what I can remember.  That version was what I saw as “definitive” in my youth until I finally heard from a few friends in the late 80’s that I’d probably want  to see it in its original language. That took a while, as I finally got around to seeing a cut of the Cantonese/Mandarin version with English subtitles about 10 years back and it made for a much better experience.

As a kid, I didn’t pay close attention to dubbing other than cracking up at the way the mouths moved while wondering how those actors onscreen often said the dopiest things. As I grew older and gained more knowledge about films and the dub/sub process, I saw that more often than not, bad dubbing was the result of rewriting dialog and trying to fit those words into the mouths of whichever actor was speaking lines. Granted, Bruce Lee’s first complete work as a writer/director/producer isn’t exactly going for the gold on the scripting front, but it works far better when you see how Lee uses the language barrier as a major part of the film’s plot.

(Thanks, fortunestarmedia!)

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(Not So) Random Film of the Week: Slipstream (1989)

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This one’s a real woozy-doozy, folks. But an innnnteresting woozy-doozy.

Welcome to this latest installment of VSAH, folks! Definitely check out this month’s other reviews from Todd at Cinema Monolith, Mike at Mike’s Take on the Movies, and Sir Wolf (you’ve been knighted, pal) over at Wolfman’s Cult Film Club.

slipstream 1989Ambition can be a weird and wild thing at times, particularly when it comes to film production whether it be a big deal studio film or tiny independent flick. Taking a pack of awesome ideas and turning them into reality (well, of the cinematic kind) while keeping an audience hooked into the world you’ve created it a risky business, specifically when it comes to fantasy and science fiction.

Granted, the actual “science” in most sci-fi is at best, suspect and at worst, more than enough to yank a viewer clean out of the experience and leave them scratching their heads raw (ow!) while they try and figure out what the hell is going on in some scenes as they miss an important plot point or three in the process.  On the other hand, a film like Steven Lisberger’s (TRON) absolutely ambitious 1989 film Slipstream isn’t going to be one where you question the science all that much (if at all) because you’ll likely be questioning a few other more important things from parts of its plot to some offbeat cameos that may add to the star power, but come off a bit too much like stunt casting or a few folks popping in for a fast paycheck.

 

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Bill Paxton, doing his best Bill Paxton doing Christian Slater look, circa 1989.

 

The film certainly kicks off ambitiously enough with a properly bombastic Elmer Bernstein main theme and a wonderfully shot flying sequence using one of a few of the custom made aircraft created specifically for the production. That plane is carrying the somewhat cantankerous “peacekeeper” Will Tasker (Mark Hamill) and his able-bodied assistant Belitski (Kitty Aldridge) and said plane is chasing a man in a nice suit (Bob Peck) running away from them to no avail. He’s caught up with and captured by the pair who plan to take him to some faraway location to be tried and executed for the murder he’s committed. Unfortunately for them, their nattily dressed prisoner is swiped by Matt Owens (Bill Paxton), a genial illegal arms dealer looking to make a big score when he discovers how valuable that prisoner is before he decides to try his hand at kidnapping.

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