In the early films he takes beatings far more brutal than anything Gordon Liu or Alexander Fu Sheng would have endured, and as his career progressed Chan would make putting his life in danger the very center of his filmmaking approach, building his films not around story, character or ideas, but stunts: the more deadly the better. But what he does have is an indestructible body and a supernatural willingness to absorb punishment. 1 His fighting lacks the long-limbed grace of fellow students Yuen Biao and Yuen Wah, or the unexpectedness of Sammo Hung’s portly agility. ![]() Sublimely acrobatic, strong and fast, Chan was, the story goes, always a mediocre student at the China Drama Academy, where he’d been left by his parents at the age of seven and studied for a decade, starring as one of the troupe’s Seven Little Fortunes.
0 Comments
Leave a Reply. |