REVIEW:
This is one of Jackie's most celebrated movies, and not without good reason. First of all, it was his return to a more traditional period kung fu film in over a decade. Additionally, this film promised (and delivered) some of the most extravagent and intense Jackie fight scenes ever. That is not to ignore the humor, though, which is as much of a draw to this film as anything. With the amazing fight scenes and a great sense of humor, this film has rightfully turned out to be one of Jackie's best films, as well as one of the most revered martial arts films of all time.

Comparisons to its predecessor are inevitable, but let it be known that Drunken Master 2 is entirely new experience of its own. It shares the characters and drunken boxing with the original, but has its own style and sense of humor. Drunken Master 2 takes place some unspecified (but not terribly long) time after the original. Fei Hung already knows drunken boxing, but has been warned by his father not to use it and not to drink. Fei Hung is a little less mischevious and more attentive to his father's rules now, though he still finds his share of trouble. As one might expect, this share of trouble is what gets him into his situation in this film and will determine how things go for Fei Hung.

Once again, this film is a comedy. In fact, it should be viewed almost as much as comedy as a martial arts film. The comedy in this is a little less goofy and slapsticky than its predecessor (though drunken boxing always makes for a few slapstick gags). There are no goofy blunt-side-of-the-sword gags or quick-talking from Fei Hung. Rather, its a slightly more refined comedy. Fei Hung's mouth and ego get him into some situations where he gets to try keep himself cool while at a disadvantage. Anita Mui, though, may be the true shining star of the comedy. The faces she makes and the way she hams it up on that screen are just classic. It is hard to get enough of all her little side comments she gets to make, especially when she changes tone abruptly. Between her and Jackie, the comedy here is priceless and worth as many rewinds as the fight scenes.

Of course, the fight scenes are the other major star of the film. Believe the hype - these scenes are amazing. Even the non-drunken boxing scenes have an amazing amount of intricacy in the choreography combined with a quick pace that doesn't look obviously undercranked (though it probably is). Ken Lo's swift kicks are a sight to behold as his legs move almost too fast to follow, and the hits come through as hard as they should. The drunken boxing, of course, is what everyone really wants to see. Again, just amazing. The same intricacy, but with all the gags of drunken boxing. This time, Jackie seems a lot looser as he performs the drunken moves, and the choreography works well with it. Just watch as he twists, turns, and hits the opponents while finding time to drink inbetween. Of course, the different drunken styles are there too, and even get joked at in the dialogue.

Drunken Master II is really the movie it is made out to be. It sets itself apart from so many other kung fu movies, and not because of its (admittedly not amazing) plot. It sets itself apart on its unique style and on the merits of its memorable comedy and amazing fight scenes. Anita Mui and Jackie Chan are both very appealing in the film, which really sells the parts and brings the film together. This film should definitely sit on every respectable film collector's shelf. It is not every day that we see such an amazing film that blends comedy and action so perfectly.

This was Chan's first "traditional" martial arts movie in about 10 years (after making cop pictures like Police Story), but Chan clearly hadn't lost a step. Not only is Drunken Master II his best traditional film, it's his best movie period. Watching this movie for the first time is a thing of pure enjoyment. The plot develops at a breezy pace; you never can really dwell on facts such as Fei-Hung's mother (Mui) looks younger than him. Speaking of Mui, she's a refreshing change of pace from the airheaded females featured in recent Chan films. She steals the show in every scene she's in as Fei-Hong's wise-cracking mah jongg-addicted mother. Ti Lung also gives a believably stern performance as Fei-Hong's exasperated dad.

But what's a Jackie Chan movie without action? Believe me, once you see the fight scenes in Drunken Master II, most others (even Chan's) pale in comparison. Words cannot do these masterpieces justice. If the climatic fight between Fei-Hung and two thugs (played by Ken Lo, Chan's real-life bodyguard and Ho Sung Pak, the model for many of the characters in the popular "Mortal Kombat" video game) doesn't get your pulse going, you must be dead or severely intoxicated. Supposedly, the fight took months to film and it shows. Chan has never looked better.

Do yourself a favor and hunt this down -- you won't be disappointed.

After a series of successful historical martial arts epics appeared in Hong Kong in the early nineties, Jackie Chan broke his usual tendency to go against popular trends and created his answer to the heavily wire-enhanced fantasies like "Fong Sai Yuk" and "Iron Monkey." "Drunken Master II" returned Chan to one of roles that helped make his career in "Drunken Master" (1978). As the celebrated historical figure Wong Fei-hung, Chan had solidified his trademark style that mixed meticulously orchestrated stunts, comedy, and jaw-dropping kung fu. Although having passed his physical prime a number of years prior, Chan proved himself to be capable of creating one of the most dazzling martial arts performances ever seen on screen.

To begin with, the film features a notable cast of stars from three generations who all contribute greatly to the film's success. Credited as director and action choreographer, Lau Kar-leung was one of Shaw Brothers brightest directors back in their '70's chopsocky boom. Lau's ability to create epic battles with creativity and a reverence for traditional martial arts is on is very apparent in the first half of the film. The confining, opening fight between Chan and Lau under a train and a loading platform is fast and furious. Although both actors are no spring chickens, they move with a rhythm and grace that defies their age. Lau's coup de grace is the massive fight pairing him and Chan against a huge mob of axe-wielding gang members. Even upon repeated viewings, this expertly staged melee is unbelievable. After creative differences with Chan led Lau to leave the production and try his hand on his own less successful sequel, "Drunken Master III," Chan's team took over and would deliver one of the most stunning fights ever.

Chan's on screen parents are played by two of Hong Kong's brightest actors. Ti Lung is of course another classic kung fu veteran who starred in numerous Shaw Brothers films before being rediscovered by John Woo as a modern action star in the 1986 film, "A Better Tomorrow." Despite being only eight years older than Chan, he convincingly plays Fei-hung's father. Mrs. Wong is played by the multi-talented Anita Mui who very nearly steals the show with her funny, over-the-top portrayal of Chan's mischievous confidant. In many ways her role apes Josephine Siao's equally terrific performance as Jet Li's fiery mother in "Fong Sai YuK." Possessing a growing fan base of his own is Ken Lo, Chan's bodyguard and in this film, his main opponent. Lo is a true superkicker, who displays his awesome skills against Chan. Korean, Pak Ho-sung who appeared in "Mortal Kombat" plays Lo's sidekick and performs admirably against Chan's swift sparing. Last on the list of notable supporting stars is Lau's protégé, Chin Kar-lok who starred with Lau in the underrated "Operation Scorpion." Andy Lau also makes an appearance although his role is unfortunately a throwaway that doesn't allow his acting abilities to shine.

Speaking of acting, Chan gets kudos for playing one of the more dynamic roles in recent memory. By using the "drunken" style, we get to see Chan inebriated which is a rare and delightful cinematic occurrence. He shifts from being childishly conniving to deliriously mad. No one can deny that Chan pushed all of his considerable skills to their maximum potential. This is no where more apparent than in the final struggle with Ken Lo, surrounded by smoldering fires and crud machinery within a turn-of-the-century steel factory. Anyone who has studied Chan's screen fights can see that he "dances" with his opponents to a precise rhythm. This allows him to stage fights at a pace that western stuntmen find impossible to replicate. Having consumed industrial alcohol, Chan has worked himself into such a frenzy that he's lighting fires with his spit and smashing crates simply to relieve his excess energy, much to Lo's amazement. The discerning viewer will notice the relatively subtle use of wires as Lo and Chan fling each other about. Purists cry foul but the effects are so carefully incorporated into the action that they only further highlight the actors' abilities.

Much more could be said of this film. The story is perfectly crafted to logically place each of the fights within proper context. William Woo's traditional score is always fitting. With plenty of humor, dynamic acting, and perhaps Chan's finest martial arts display, "Drunken Master II" is without the doubt, this viewer's choice as the single greatest martial arts film of all time.

The story, as in most of Jackie's Hong Kong films, is quite flimsy, serving only as a springboard for the incredible fight sequences. Playing Chinese folk hero Wong Fei Hung (one of the most portrayed characters in film history), Chan looks too old for the part, considering he has a middle-aged father (70s Hong Kong star Ti Lung) and even younger-looking mother (singer and frequent Chan co-star Anita Mui). The plot involves the smuggling of priceless Chinese artifacts out of the country by a group of westerners, and the efforts by decorated Manchu general Fu Wen-chi (Liu Chia-Liang, who was also the director) and Wong Fei Hung to stop them. The story might not hold up to Hollywood standards, but the action scenes are often more gasp-inducing than anything you will see in a US-made film.

The first fight sequence involves Jackie and the Manchu general Fu Wen-chi. This is a well-filmed weapons duel in and amongst a train and under a raised house. The use of swords and spears is startling in the cramped locations. The second is the first time we see the drunken boxing style that is indicated by the film's title, when Jackie battles a group of thugs. Fluid and - yes - even comical, the balletic manouevres are a sight to behold. Third is a superb confrontation between Jackie, the general, and scores of axe-wielding opponents in a deserted tavern. If all those preceding fights were good, the climax itself is the piece de resistance. Reputedly taking some three months to shoot, the finale in the steel mill is a marvel of speed, athleticism, power, and pure aesthetics. It has to be seen to be believed. Bruce Lee may have had lightning reflexes, but his opponents (with the possible exception of Chuck Norris) were nowhere near his league in terms of martial arts skill. Jackie's antagonist is Ken Lo, his one-time, real-life bodyguard (that he's good enough to be Jackie's own bodyguard speaks volumes for his prowess). What Ken Lo does with his feet is nothing short of amazing - it's a cyclonic flurry of kicks, jabs and more kicks that will have your eyes glued to the screen. Jackie's reply to this kicking machine is even more ingenious, requiring the effects of industrial alcohol to turn him into a superhuman fighter, one impervious to pain. The resulting duel has probably only been equalled by one previous Jackie one-on-one, and that was with karate champion Benny ("The Jet") Urquidez in 1984's Wheels on Meals. Suffice it to say it rains on any on-screen fight that a Seagal or van Damme has ever been involved in.

As is expected in a Jackie Chan film, there are plenty of moments of comedy. Most of these are supplied by Jackie and Anita Mui, especially during a silly but funny segment showing the substitution of an ordinary plant for a missing ginseng root that has medicinal properties. The final scene, about the after-effects of the industrial alcohol on Jackie's character, is meant to be funny, but has been dismissed by many as tasteless and unnecessary. I didn't think it was funny, and, yes, it is kind of tasteless, but it must be remembered that comedy in Hong Kong films is a different beast to comedy in US films. Just as British humour may be considered too dry or droll, Hong Kong humour sometimes goes over the top. This is not to excuse the final scene in DM2, but it shows political correctness does not often apply in Hong Kong filmmaking.

There was reportedly a feud between Chan and director Liu that led to Jackie taking over directing duties before the film was finished. Apparently Chan didn't agree with the amount of wire-assisted work that Liu wanted in the picture. I'm more of an advocate for pure martial arts, but I still enjoy a wire-fu production provided the wire work doesn't dominate the entire film (like in the recent Crouching Tiger, Hidden Dragon). Good examples of wire-fu movies include Jet Li's Once Upon A Time In China and Fong Sai Yuk series. In DM2, there are telltale signs of wire work, but thankfully this is minimal and is used to enhance the ballet-like movements of the drunken boxing style. Also, there are a couple of fleeting moments when a double seems to have substituted for Jackie during a spinning-on-the-ground manouevre. Shocking, perhaps, for those reared to believe Jackie does all his own acrobatics, but Jackie was forty years old at the time and probably didn't feel it was necessary for him to do every scene. This is only a minor observation, of course - the rest of the fighting is pure Jackie.

There is one brave (crazy or incredibly foolish may be more appropriate terms) stunt that Jackie performs near the end, when he falls onto a bed of hot coals. The outtakes during the end credits confirm that Jackie did it himself. Though it's not as spectacular as some of his other stunts (see the Police Story or Project A series for more thrilling examples), it's still a defining moment for those looking for Jackie's trademark deeds of derring-do. If you've heard of Jackie's penchant for risking his life in the pursuit of film heroics, and want to see some examples, then Drunken Master 2 is not the showcase for this stuntwork. But if you are a Chan fan, or are a martial arts fan in general, then you ought to see Drunken Master 2. It may quite possibly be the greatest martial arts film ever made.

** Footnote: Drunken Master 2 was recently released in North America under the title The Legend Of Drunken Master. While only the final scene has been cut, the original language soundtrack and score has apparently been replaced with an English dub and different music and sound effects. While I applaud the distributors for giving Jackie more exposure, my preferred choice is to view a film in its original language and soundtrack. Hence, if you can, watch DM2 in its original form.

Jackie Chan's finest moment?!? It could very well be. "Drunken Master 2" follows the exploits of Wong Fei-Hung, a Chinese folk hero, as he fights to keep Chinese national treasures from falling into the hands of the British. The first half of the film is the silliest, as we follow Fei-Hung's wacky exploits.

It's amazing that Jackie, who is in his 40s, has enough exuberance and charm to easily pull off playing the much younger Fei-Hung. The second half of the movie gets more serious, as Fei-Hung fights the British and his fellow countrymen to protect the treasures.

Throughout the movie, we're treated to some incredible fight scenes. Where else can you watch someone fight off 100 axe-wielding assassins with a bamboo pole? The final fight scene in the steel mill gets a little drawn-out, but it still has some incredibly crazy scenes (Jackie falling into a bed of hot coals and scrambling across in agonizing slow motion comes to mind). It's not without it's silly parts (Anita Mui hams it up as Fei-Hung's mother), but if you're looking for the "ultimate" Jackie Chan film, this is probably a top contender. The fact that Fei-Hung fights better when he's drunk is just icing on the cake.

A dubbed and slightly edited version was released in the theatres not too long ago, and it was actually well done considering the hatchet job that some of Chan's movies have been put through in the past. Unfortunately, they decided not to include the original language track on the DVD release. If you want to see the original version in all of its glory, you'll have to track down a VHS copy. And I ain't selling mine.