Martial arts movie history was made in 1973 when Robert Clouse's Enter The Dragon, the first martial arts film produced in America, made Bruce Lee a household named throughout the world and at least partially started the martial arts craze of the seventies.

Bruce Lee plays Lee, a member of the Shaolin Temple and master of the martial arts who is to attend a tournament being held by a mysterious man named Han who lives on a remote island. Han is a former Shaolin Monk who left the temple and went out on his own. He now has a massive army of martial artists at his disposal who live on the island with him.

Han is supposedly involved in an illegal opium trade and also appears to be dabbling in white slavery. Lee is sent there so that he can and try to find get some substantial evidence against Han, needed to bring him to justice. When Lee finds out that Han is responsible for an attempted abduction on his sister from three years ago (which resulted in her suicide), that clinches the deal for him and he's off.

Along the way, Lee teams up with a man named Roper (b-movie favorite John Saxon of Black Christmas and Cannibal Apocalypse) who has a financial problem with a few gangsters who intend to get their money from him by whatever means necessary. Roper has hopes of winning the tournament to get the prize money and take care of his problem. A third man, Williams (played with maximum cool by the Black Samurai himself, Jim Kelly) is also on the scene with hopes of taking home the prize.

From the beginning scene with Lee practicing to the grand finale in Han's house of mirrors, Enter The Dragon is an ultra-slick blending of the kind of stylish action movies that the American film industry was pumping out in the seventies with a very Asian sensibility to it. The fight scenes are tighter than a knot and performed with both grace and brutality. Lee is the consummate hero with the noblest of intentions and the skills to get the job done, while Roper and Williams provide some interesting contrasts with ‘human' characters who are prone to making some mistakes of their own along the way.

With a blink and you'll miss it cameo from a young Jackie Chan, and an equally small cameo from a young Sammo Hung, it's interesting to see this, Lee's most famous film, as a starting ground in a sense for those who would take up his mantle in the martial arts film world. There are a few goof ups (you can see Lee working his mojo choreographing one of the final fights if you look carefully, and there's a cobra that rattles like a rattlesnake) but for the most part, Enter The Dragon is an extremely well made, polished, slick, and highly entertaining film that wears its age proudly on its sleeve. It's a high point in the genre that has rarely been outdone and that most fight films, even now, more than thirty years later, can't hold a candle to.

The film breaks down into six principal parts. There's the opening fight and statement of Lee's martial philosophy; the tournament arrivals and harbour scene; the start of Han's tournament; agent Lee's explorations and Roper's temptation; then the conclusion of the tournament and Han's defeat. It ends with a brief, wordless epilogue displaying a physical exhaustion of the principals, reminiscent of the close of The Wild Bunch. Such a straightforward structure works to minimise narrative subtlety while simultaneously showcasing Lee's inimitable fighting talents. The backgrounds of the two main supporting characters, Roper (John Saxon) and Williams (Jim Kelly) is given in two flashback sequences, then hardly referred to again. No one would pretend that the dialogue, even when loaded with Lee's own private significance, is anywhere more than adequate. Much of the conversation provides unintentional pleasure, whether through the fighter's own oriental lisping, or the film's emphasis on arch phrases (apparently characteristic of men of action). The most interesting part of the film's spoken elements is at the start, where in Lee's so-called 'Monk Scene' (missing from some release prints) then also a little later, he reveals something of his personal philosophy. Lee, we are told, has taken his fighting technique "beyond the mere physical level - to the point of spiritual insight." For the fighter of this calibre opponents and all immediate combat concerns vanish, to be replaced by a notion of committed distancing, or 'emotional content' ('not anger'). Interestingly Lee remarks that each fight "should be like a small play - but one played seriously." One can see that it is a series of such martial 'dramas', gradually increasing in scale, from which the tension and drive of the film emanates, rather than any traditional development of character.

If the cruel, autocratic Han and his island are reminiscent of Dr No, or his hall of mirrors of Lady From Shanghai, then the supporting characters are hardly less original. The wheeler-dealer Roper, down on his luck, a somewhat feckless gambler, is very familiar. Williams has dated more badly, most noticeably in the association of his black athleticism and streetwise 'coolness' with overt sexual virility. Confronted with a choice of Han's whores, for instance, Williams chooses virtually all of the ladies on offer. "Please understand, if I missed anyone," he nonchalantly adds, "but it's been a big day." It is Williams that faces the most emphatic personal end, pummelled dead, strung up and ditched into a vat of acid - in a conclusion that, on reflection, is almost a judgement on his racial assertiveness.

Lee is at the centre of the film. Throughout he provides moral, physical and sexual standards against which others are measured - most conspicuously, westerners. There is a revealing juxtaposition between the ultra-fit fighter and the middle-aged, bespectacled Braithwaite (Geoffrey Weeks) who briefs him at the beginning of the film. While Lee has a personal interest in Han's destruction, one immediately understandable and honourable to the audience, the Englishman's professionalism is both guarded and generalised. He represents only "gatherers of information upon which governments can act." Braithwaite offers Lee a drink, (which of course the ascetic fighter declines), and confirms Lee's unspoken judgement on the unattractiveness of firearms ("Any bloody fool can pull a trigger"). Naturally it is Braithwaite, tucked up in bed, that receives a distress call half an hour late, while Lee battles against superior odds out in the field. On the outward-bound junk, Lee proves his moral superiority to an arrogant competitor, outfoxing and leaving him adrift in a boat. Finally, by the end of the film, after winning every contest, the topless and blood-tasting Lee provides a far more convincing image of physical potency than ever do the sexually active Roper and Williams.

In real life Lee had an ongoing concern for the poor of the orient and saw the martial arts as one way to restore their dignity. His first film, The Big Boss (aka: Tang Shan da Xiong, 1971), set in and around an ice plant was (in its way) involved with commercial exploitation and corruption. For Enter The Dragon, it was partly through his insistence that director Clouse filmed the dramatic and memorable scenes in Hong Kong harbour, setting the arriving contestants amidst a floating shantytown. When, during the cavern fight, Lee finds himself in combat alongside the pens holding Han's mute prisoners (his "bar room dregs"), his endeavours are explicitly and economically connected with the rights of those dispossessed. We realise then that he is fighting as much for their freedom as for Braithwaite's secret masters, his sister's memory or the honour of his temple. Fittingly, it is these discarded men who will eventually overrun Han's island and restore their rights.

In fact, Han's private island is a dictatorship; one in which he "lives like a king"; in which Nazi salutes of raised, punching fists greet the newly landed competitors, and where the ubiquitous fighting outfits of his kung fu army are also a uniform of repression. His tournament becomes a showcase for Han's philosophy, as well as a convenient means to recruit. As one of the first things we see ashore, Clouse wisely lets his camera pan over a vista of striking fists with the martial shouts they engender. Like Riefenstahl's images of a Hitler rally, and aided by Schifrin's insistent, garish score, Han's discipline en masse makes for a thrilling, if ominous, spectacle.

Such an island of course also provides an excellent proving ground for the heroic Lee's talents. But, apart the relatively short opening taster bout, he hardly lifts an arm until reaching Han's enclave - and even then spends long minutes as a calm observer of the opening bouts. In between he exercises more guile and restraint, sly humour and cat-like athleticism than the expected muscle. By then of course, we have seen just how his sister has been killed, and know he itches to tackle Han's bullying bodyguard O'Hara. Lee is coiled and not yet sprung. The audience is eager to see him fight, just as we know Lee is himself aching to exact revenge. The resulting tension, a martial anxiousness, goes a long way to papering over any weaknesses in dialogue and leads to the highest expectations.

Fortunately for the viewer such expectations are fully justified. Lee's legendary martial artistry is awe-inspiring, enough to catapult the film into the front rank of action movies. Frequently shown in slow motion so that the camera could catch his rapid-fire actions, Lee's fighting demands repeated viewings. He fights O'Hara, numerous cavern guards, different individuals en route and, finally, Han in a mirrored room - all with an authority and skill, with bare hands and nunchuka.

During his fights Lee frequently demonstrates the previously described 'emotional content' of his martial philosophy: a mental posture which manifests itself as a calm self-collection, concentrated into cold fury for victory. On the point of dispatching O'Hara, for instance, Lee ruminates on his immediate aggression with an intense self-absorption, killing his sister's murderer through a contemplation of inner pain almost impossible to describe. Later, as the ensuing melee swirls around Lee, the camera zooms again on its hero: typically, he is calm, perfectly focussed. It is during moments like this, full of vengeful rectitude, that the actor provides overwhelming confirmation of star status.

There are a few minor disappointments in the film, not least of which is absence of Han's "daughters and personal guard" from the final conflict. (Whether or not this was due to constrictions of budget, or shooting schedules would be interesting to discover.) Perhaps too Roper could have been given more to do in the final scenes besides fight in the tournament ground with the rest (although perhaps not a surprising decision, given that actor Saxon is not an experienced kung fu actor). These quibbles aside, one leaves Enter The Dragon frequently exhilarated by an action movie that has held movie audiences consistently down the years and continues to do so...

A lot of people call this one of the best (if not the best) martial arts film of all time. I like the movie, but I wouldn't go that far. While it does stand above many other films, Enter the Dragon is just lacking that certain something. The movie loses itself in subplots with the Saxon and Kelly characters -- does anyone actually believe John Saxon could kick Bolo Yeung's ass? I suspect the only reason so much emphasis was put on these characters was to give the movie more "crossover" appeal (just think of the pairing of Jackie Chan and Chris Tucker in Rush Hour). There's also a lot of unnecessary nudity; I have nothing against nudity, it's just that the scenes that involve it here grind the movie to a halt. Finally, the "revenge for a family member" plot was tired even back in the '70's. This wouldn't be such a bad thing, but the script is so horrible and Clouse seems to be sleepwalking as director, it comes off as really no better than those countless "Kung-Fu Theatre" movies (at least in the storytelling department).

However, in the action department, Enter the Dragon certainly delivers. Warner Bros. wisely decided to let Lee direct all the fight sequences, and they're outstanding. Every time I start to bitch about the things stated above, once I see Lee beating the hell out of everyone, I remember why I like the movie. The final brawl is a true classic which very few films have matched since then. On the acting side, Lee is also great; his stern, dignified performance stands out, especially when compared with other martial arts "actors" like Van Damme. He really did have a lot of talent in both realms of fighting and acting, and Enter the Dragon showcases them. So, while it's not a perfect movie, Enter the Dragon is a fitting testament to Lee's legacy.

A couple of side notes...

REVIEW:
I think I can safely say this film would be nothing without Bruce Lee. Lee's charisma was probably strong enough to carry just about any film. This was Lee's first American production after working on three previous films in Hong Kong. While not as well received in Asia as his earlier works, Lee's ENTER THE DRAGON was certainly a success internationally. In fact Lee's untimely death just prior to the film's release fueled the Bruce Lee craze even further.

The film is highlighted by a series of battles which shine when Lee is on screen but dim when others try to match him. John Saxon, a student of Lee and Jim Kelly are examples of why martial arts in American film is mostly forgettable. Their performance is wooden and uneasy next to Bruce. Several Hong Kong stars of greater skill and notoriety do appear. Hong Kong legend, Angela Mao gets her kicks in as Lee's sister who attempts to fend off a motley gang out to do her wrong. Its a terrible shame that two future kung fu superstars in the film appear only briefly. Sammo Hung is featured as the sparring partner who gets floored by Bruce at the Shaolin monastery before the starting credits. One the best scenes sees Bruce, having infiltrated Mr. Han's underground operations, wade through a small army of hapless evildoers. A young Jackie Chan can be seen grabbing Bruce from behind before he receives a death blow.

The story as mentioned before is simple and tries to capitalize on the popularity of the James Bond franchise by casting Shih Kien as the maniacal villain, Mr. Han. Mr. Han has many qualities which suit his profession such as the absence of a left hand which is useful for attaching various slashing and blunt instruments. Mr. Han also has the requisite white fluffy cat, hidden elevators and the vanity to install a hall of mirrors, featured in the final battle sequence...

Compared to later Hong Kong films featuring Jackie Chan or choreographed by Yuen Wo Ping, ENTER THE DRAGON appears dated. Nevertheless, it remains a remarkable film for the intensity of Lee's performance and his lightning-quick martial arts skill.

The film begins at the Shaolin Temple, where a duel between two martial artists explode before the abbot (the late Chiao). In one corner is a portly yet experienced kung fu expert (Sammo Hung, in an early appearance) and in the other corner, Lee (Lee), the top student at Shaolin Temple. When Lee defeats his opponent, he does a flip over the arms of 4 Shaolin teachers (ed. note: Bruce's acrobatic double in Yuen Biao).

Bruce is introduced to Braithwaite (Weeks), an agent for the US Government who asks Lee to help the Drug Enforcement Agency in infiltrating a martial arts tournament. However, Lee takes a break to train a student (Stephen Tung Wei) in the philiosophies of the martial arts. When the student's lessons are over, Lee joins Braithwaite and learns that it is a former Shaolin master named Han (Shih), who holds a martial arts tournament every year as a front for his illegal activities.

Lee agrees to join, but it's more than the mission at hand...it's personal for Lee. In a flashback sequence, Lee's sister Su Lin (Mao), was assaulted by Han's bodyguard, O'Hara (Wall) and his gang of thieves (including Wilson Tong). Despite Su Lin's fighting skills, O'Hara and his goons prove too much for her and she ends up killing herself in front of O'Hara. For Lee, this becomes personal.

Meanwhile, attending the tournament is businessman Roper (Saxon), who is entering for the glory. Shown in a flashback sequence, Roper fights off three goons (one is future fight choreographer Pat E. Johnson), who want money that Roper owes to their boss. Also competing is Williams (Kelly), a karate expert who fights for black pride and happens to be an old friend of Roper's. Causing trouble on the boat to Han's island is Parsons (Peter Archer), an Australian martial artist who thinks Chinese are inferior. Lee, however, teaches Parsons the "art of fighting without fighting"...he has Parsons go onto a small boat attached to the big boat and tends to leave him there.

When they arrive at Han's Island, they meet the beautiful Tania (Capri), who Roper has eyes for. That night, a party is held for the fighters and they are introduced to the evil Han himself (ed. note: Han's voice is dubbed by Keye Luke). Later that night, Lee meets his contact, Mei Ling (Betty Chung), who tells Lee of the illegal activities going on on the island. The next morning, Lee prepares for the first day of competition. In the tournament, Williams defeats Parsons and Roper beats his opponent (Tony Liu, the only actor to appear in all the Bruce Lee movies).

That night, Lee decides to go undercover to find out some of the illegal happenings while Williams, who disobeys orders, goes out for a walk. Lee dispatches of some goons and is seen by Williams (not his face), as he calls him "a human fly". The next morning, Han has his henchman Bolo (Bolo Yeung, in one of his first appearances) kill the henchmen Lee fought off the night before. Lee goes one-on-one with O'Hara, and defeats him. O'Hara, unable to take the defeat, tries to kill Lee with a broken glass bottle. Lee kicks it out of hands and ultimately kills O'Hara with a crushing blow to the chest (ed. note: On the set, Bob Wall actually cut Lee with the bottle. Lee needed stitches).

Williams is sent to meet Mr. Han after the day is over and Han accuses Williams of taking out the henchmen the night before. In a fit of rage, Williams fights off Mr. Han. Han, who lost a hand from the past, puts on a steel hand and proceeds to fight and ultimately destroy Williams. Roper, who is called by Han, learns that Han is involved with drug smuggling and wants Roper to assist him. Roper refuses and sees his friend Williams into a watery pit with spikes on it...looked like Williams was dead already, but this was this insurance, you know.

Lee goes back to the hideout that night and finds that there is more than drugs involved. Through morse code, he contacts Braithwaite. Kidnapping is a major price of Han's, and Lee ends up fighting many goons (including Yuen Wah, Corey Yuen, Peter Chan, and Jackie Chan), using everything from bare hands to his trademark nunchaku. Lee is caught by Han, who says his skill is extraordinary.

The next morning, Roper is forced to fight Lee, but Han decides that Roper fights Bolo first. Roper does all he can and eventually defeats Bolo. In the meantime, Mei Ling frees the kindapped prisoners. Soon, all hell breaks loose as Lee, Roper, and the prisoners take on Han's goons in an all-out brawl. Han replaces his hand with a claw and proceeds to claw his way through some of the prisoners. Soon, Lee and Han go one-on-one. They end up inside the headquarters, where the action begins in the "hand room", where Han relaces his hand with a swordlike claw. Eventually, the two end up in a hall of mirrors. Lee has trouble finding Han and proceeds to break all the mirrors. When Han tries one more attack, Lee kicks Han, impaling him on a spear. The massacre is over...many bodies lie dead...Lee and Roper survive as the government arrive to save the day.

This is the ultimate Bruce Lee experience. Not only is it a classic, but it has appearances from some top Hong Kong stars who would later become popular in the industry. In 1973, the theatrical print left out a scene of philosophical proportions between Lee and the Abbot. When the film re-released in 1998 on video, the scene was put back in. The scene was also used in the 1981 "sequel", Game of Death II: Tower of Death. Jim Kelly would return to Hong Kong five years later to star in Lee Tso Nam's Tattoo Connection in 1978. John Saxon would go on to star in the breakthrough A Nightmare on Elm Street in 1984. The film was spoofed in 1977's Kentucky Fried Movie, with Evan Kim playing the Bruce Lee role and Hapkido grandmaster Bong Soo Han in the Shih Kien role. If you love martial arts films or are if the mood for classic kung fu, this is a must see...you will not regret it!!!