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Meng long guo jiang (1972)

Meng long guo jiang (1972)

Bruce LeeChuck NorrisNora MiaoPing-Ou Wei
Bruce Lee


Meng long guo jiang (1972) is a Mandarin,Cantonese,English,Italian movie. Bruce Lee has directed this movie. Bruce Lee,Chuck Norris,Nora Miao,Ping-Ou Wei are the starring of this movie. It was released in 1972. Meng long guo jiang (1972) is considered one of the best Action,Adventure,Comedy,Crime,Drama,Thriller movie in India and around the world.

Tang Lung arrives in Rome to help his cousins in the restaurant business. They are being pressured to sell their property to the syndicate, who will stop at nothing to get what they want. When Tang arrives he poses a new threat to the syndicate, and they are unable to defeat him. The syndicate boss hires the best Japanese and European martial artists to fight Tang, but he easily finishes them off. The American martial artist Colt is hired and has a showdown with Tang in Rome's famous Colosseum.


Meng long guo jiang (1972) Reviews

  • Bruce Lee's best film shows humorous personality of Lee himself


    The Cantonese title Maang5 Lung5 Gwo3 Gong1 (Dir. Bruce Lee; 1972) is aesthetically fully controlled by the leading actor Bruce Lee (1940-73) himself, and it's the largest box office hit in Hong Kong among all Bruce Lee action martial arts films. Although his actually completed Hong Kong films of 1970s are only four films such as The Big Boss (1971); Fist of Fury (1972); Way of the Dragon (1972) and Enter the Dragon (1973). His featured films formed the 1970s' Hong Kong Martial Arts Kung Fu movie genre wave after the 1960s' Shaw Brothers Studio's Mandarine Costume Play Martial Arts films of King Fu and Chang Cheh. The best Hong Kong producer Raymond Chaw (1927-2018) found the best leading form and style of filmmaking of that era. It made Hong Kong film an international brand in this field. He said 'his aim of filmmaking is to entertain people' at Tokyo International Film Festival in 2012 I directly heard of his message to audience out there. Art film was not his concern. I perfectly agree with him. And Akira Kurosawa and Zatoichi series influenced their martial arts genre films, and then they developed it to more supernaturally exaggerated complex wired actions, actual martial arts-skill based actors and brutally realistic tendency of tragedy. As the result, they actually exceeded Japan cinema in terms of visual appearance. The extremely super realistic actions and extremely realistic reactions are aesthetic tendency of Hong Kong filmmakers on how they absorb other cultural background film practices. This degree of freedom of form and style on cinematic expression is quite attractive for anyone even under the highly individualist-capitalist ideology. This film tale established the comically organised Kung Fu action film genre for the later generations. Bruce Lee actually played a cool protagonist who only mechanically beats antagonists for bloody revenge in several films without this one. The never settle down protagonist, a bumpkin Tang Lung saves Italian Restaurant owner Chen Ching-hua from land property-sharks and their employed Karate champ Colt played by Chuck Norris(1940-). This film was not Chuck Norris's debut film at all. The Wrecking Crew (1968) was Chuck Norris' film debut as a uncredited role in fact. His best one is also this film in terms of fighting sequence at Colosseum. In fact, they did not play any actual Kung Fu fight out there, that was dealt by studio shooting separately. The opening sequence typically shows new genre style and Bruce Lee's comical acting taste while Tang Lung waiting for the arrival of Chen Ching-hua at the airport. He's totally disoriented on the lobby, at the foreign restaurant when he interacts with Italians in different ages and occupations. It established his comical personality as an ordinary people. It something attracts audiences psychologically. Besides this, Bruce Lee's role Tang Lung intends to avoid killing anyone during all fight scenes in this film. This psychological tendency is obviously expressed in his acting and facial performance even after he kills Colt who refuses his mercy during the Colosseum battle. Viewing Bruce Lee film at Hong Kong cinema is a special cinematic experience for fans and professionals. I actually enjoyed the 2015 remastered Blu Ray version of this film screening at cinema. Only one con is that cinematography failed to keep control on its depth of focus, a focus puller issue is severe during viewing of shots of this film. I don't think Tadashi Nishimoto did a professional cinematography for this film. Focus flaws are pretty obvious and it makes restoration harder than classical silent films which professionally dealt their depth of focus. Focus issue can not be improved by post production. In conclusion, this film is not only the best film of Bruce Lee for his wife and loyal fans in terms of aesthetically full control by Bruce himself, but also it established the comedy Kung Fu action genre for Hong Kong filmmaking and the next generations. It showed Bruce Lee's comical and humanistic personality in the leading role for the first time. Made his role more humane, more attractive like Jackie Chan (1954-).

  • Redefined the genre, and still does


    Although this is technically not Lees greatest film, it is a personal favourite since Lee was in full control and everything is pure Lee. Many have wrongly stated this film is bad, having not seen the originals where you can really appreciate the composition of the showdowns (visual director with potential - see the rare 'rocking chair' shot in Game of Death). The script is bad in a few places, particularly the humour, but this film was never inteneded for the west, but designed to appeal to his country men. Now, the film features the best array of fighting sequences ever commited to celluloid. Obviously influenced by Sergio Leones trilogy, tension is excellently built up before fight. The sequences are not overly choreographed or played in slow motion or 'lightly' then speeded up, but contain a raw, feral edge combined with breathless technique. The perfect marriage between art and realism. The fights with Wong Ing Sik and Bob Wall while short, are underrated even by Lee fans. Those who have been lucky enough to see the double nunchaku sequence in full, will have witnessed one of the best display of weaponary ever shown on the silver screen (along with the 'original' and 'complete' nunchaku footage from Game of Death and the wonderfully comprehensive display of martial arts in the underground Enter the Dragon sequence). And then theres THAT coliseum fight. Perhaps the start is abit overdone (But Lee wanted to put forward a point i.e. don't play to your oponents strength), but it is undoubtedly the best expression of the human body ever, whether fighting, dancing, running whatever. Those brought up on Latter day Chan stuff and in particular Jet Li fights, will not appreciate this piece, but those knowing anything about the fighting arts or good choreography will be shaken not just stirred.

  • A true classic from the greatest martial artist of all time.

    Dark Eye1999-12-03

    This is the best Bruce Lee movie, period. The single reason is that this movie shows him off a lot more than the other ones. In this film, the one and only Bruce Lee made his directing debut. Not only the movie showed the world why he is the greatest martial artist to ever live, it showed that he is way ahead of his time. This film showcased his astounding skills, agility, and charm much more so than the brilliant classic "Enter the Dragon", and this film will show how truly fast and nimble Bruce Lee is with his fists and feet (the people had to accelerate the frame rates of all his films in order to catch his movements properly). The fight scenes are unbelievable, and it is already widely regarded that the final Colloseum battle between Tang Long (Bruce Lee) and Colt (Chuck Norris) is the best fighting sequence ever filmed for a movie. Do yourself a favor by watching the original Way of the Dragon with all it's original fighting noises intact. Those who are content on only watching the English-dubbed version are missing out on a lot!!!! Any true fans of Bruce Lee can attest the massive difference it makes in experiencing the real voices of Bruce Lee when he is fighting on-screen.

  • Bruce Lee at his best


    Movement #4...dragon seeks path. That one scene sets the whole film for me. I will definitely say I really love this film. No matter how many countless times I've seen it ever since I was a kid watching it on the Big Apple movie (old skool!!). This movie introduced me to kung fu and the legend Bruce Lee. His character is very interesting in this one, because he's a stranger in another land (Rome). The people he's supposed to help don't even trust him (hilarious scenes of awkwardness between Bruce and Miss Chen). Ha Goon plays a great comic relief (CHINESE BOXING!). Although the movie takes a dark turn, there are many moments of laughs. I will never forget that you can't order "chinese spare ribs". For the action, Bruce dominates as he takes on a whole gang of thugs using everything from fists and kicks to darts, a pole, and of course his awesome nunchuk scene (MOMMA MIA!!). I love the sound effects when Bruce hits his opponents and the WOOSH sound is great!! His training scenes show that Bruce Lee had 0% body fat and is good motivation for working out. The finale between he and Chuck is a classic kung fu moment. Great shots before the fight including the cat too!! This is a great film. Another example of a great martial artist.

  • Adorable mixture of silly slapstick and ritual violence.

    alice liddell1999-08-23

    If, like me, you have only seen Bruce Lee in the wonderful, but portentous, ENTER THE DRAGON, than you might be surprised by this quite potty earlier film. In ENTER THE DRAGON, Lee was amused, but sombre; a fighting machine, pivotal piece in a deadly serious mythological puzzle, his strength never in doubt. The first third of this film couldn't be more different. Played as (very funny) comedy, Lee is passive (we first see him waiting for someone), a figure of fun, a fish out of water, exagerratedly polite, bewildered by alien custom and language, as well as his own bowels. A number of scuffles take part early on in which he takes no part, and which make us doubt his prowess. Lee directed this film, and his visual conception is much more inventive that Robert Clouse's (ENTER). Although it lacks the insane invention of A TOUCH OF ZEN, or the dizzy verve of Tsui Hark's films, Lee is not content with simple ego gratification. His two directorial mentors seem to be Melville and Leone. The former (hugely influenced by Oriental martial discipline himself) gave him a hero who is narcissistic (check the opening shot), whole; whose physical prowess is ironically the result of mental superiority, an almost Zen laid-backness; concealing the coiled, taut, muscle-burst of Lee's beautiful body. Kung Fu is primarily an art of self-defense, and this film returns to these roots: its conception of protecting the oppressed rings throughout the film (in the seemingly gratuitous picture-postcard scenes, Lee makes the connection between European colonial splendour, and the poverty and repression of Hong Kong). Chuck Norris's character has betrayed Kung Fu by siding with the oppressor - his art is bestial and clumsy, lacking the spare geometric elegance of Lee's. But Kung fu's self-defense is also a defence of one's 'self' (this is where Melville comes in) - it protects one from any threat to one's powerful wholeness, especially women (and men. There is a slight whiff of homophobia, mitigated by the outrageous campness of the film (all that red! The whole idea of SHANE recast in a restaurant!). This is ironic, since it is the proof of Lee's martial art power that makes the initially sceptical heroine (very stylish and lovely) fall for his charms (and who can blame her?). Lee's second master is Sergio Leone, from whom he has learnt an irreverent approach to genre, with jokey zooms, close-ups and cuts; mocking, yet mournful and melancholic Morricone-esque music; a ritual stand-off between mythical archetypes (an awesome set-piece in the Colosseum), with the film's heart belonging to the slightly silly, but loveable, subsidiary characters. The use of these iconoclastic directors adds a reflective and critical dimension to a genre previously (in its most populist form) a showcase for male vanity (although Lee never lets us forget how gorgeous and sweetly small and cuddly he is). A supremely entertaining film which unexpectedly achieves a climactic power and melancholy.


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