THE CHINESE CONNECTION DATE: FRIDAY, APRIL 30 TIME: 8:00 PM VENUE: MADANG FREE OUTDOOR SCREENING

THE CHINESE CONNECTION (Jing wu men)
(Hong Kong, 1972) Dir./Scr.: Wei Lo
Video (originated on 35mm), 102 min., color, narrative, in Mandarin w/ E.S.

What do you get when you mix Bruce Lee’s globally recognizable piercing gaze, explosive fight sequences, inklings of social commentary, and a scene of shamelessly gratuitous nudity? Maybe any number of Lee’s signature films? But add in a dab of racially charged undertones with perhaps the most finely observed showcasing of Lee’s intensely visceral acting prowess, and suddenly the concoction blends into none other than THE CHINESE CONNECTION. Perhaps not as well-known as Lee’s parting opus ENTER THE DRAGON, THE CHINESE CONNECTION, Lee’s fourth to last film, was released in the spring of 1972 in Hong Kong and posthumously in the United States in November of 1973, after America’s introduction to the star in ENTER THE DRAGON. This was Lee’s final film collaboration with director Wei Lo due to the evidently biased racial content in addition to personal disagreements. It’s clear, however, that Lee’s screen presence and charisma in his performance utterly overwhelm any political controversy the film may have originally garnered.

THE CHINESE CONNECTION upholds the traditions of the chop-socky film in all respects: the themes of filial honor for elders, unambiguous duality of good and evil, and the unwavering need to avenge the unjust loss of one’s teacher or loved one, are all present. Though ENTER THE DRAGON introduced Bruce Lee to the United States as a high-flying, bone-crushing, ear-piercing action star, Lee’s films also acted as vehicles of exposing the aforementioned keystone Asian cultural themes and philosophies to western audiences. THE CHINESE CONNECTION also marks a tremendous evolution of the “Bruce Lee Film” compared to his earlier endeavors, with such technical achievements as a smoother, more dynamic use of camera movement and zooming, tracing effects, and slow-motion frames. What audiences will notice most, however, about THE CHINESE CONNECTION is its more conventional narrative arc, as the story gives Lee time to shine as not only a master of harnessing kinetic poetry in his choreography, but also as a subtly pensive and sweet lover, as a playfully shy and goofy phone technician, and even as a selflessly heroic student; or in other words, even after almost forty years, an undeniable cinematic performer and legend.
— Albert Lee

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