Martial Arts/Movie Monday: The Shaolin Temple (1982)

Here's a film that every martial arts movie enthusiast really should see: The Shaolin Temple. This 1982 film was made in the Peoples' Republic of China on the grounds of the actual Shaolin Monastery, the famed 5th century home of Buddhist monks who fostered, developed and practiced one of the most influential forms of Chinese kung-fu. It is also notable as being the feature film debut of martial arts superstar Jet Li, who was only 17 at the time, but already a national champion for the Beijing Wushu Team.

The plot is the standard revenge-and-training arc familiar to most kung-fu film fans (and of course has been replicated in everything from the Star Wars trilogy to Quentin Tarantino's Kill Bill films). Li plays a young boy whose father is killed by a marauding warlord and his cohorts when they invade his land. Surviving the massacre, Li wanders into the wilderness and luckily stumbles onto the grounds of the Shaolin Temple.

The monks take him into their care, and once he regains his health, Li demands to learn the kung-fu practiced by the monks so he can take vengeance. Despite the misgivings of one elder monk who disapproves of Li's bloodlust, the young boy is taken in with the hope that Buddhism and discipline may make him a better human being.

Li's character eventually becomes extremely skilled in the martial arts, but conflicts abound. In addition to dealing with the warlord who killed his father, his personality and attitude are a constant problem for the monk leadership, plus he falls in love with the daughter of a man who has since entered the monastery himself.

Viewed today, The Shaolin Temple has many of the same drawbacks as other kung-fu films. The photography often feels sloppy and primitive, the sound recording is occasionally scratchy and the use of 70s zoomy-cam shots are frequently distracting. The tendency of Chinese filmmakers then to inject zany comedy and musical numbers into kung-fu films is also present here, though limited to one out-of-place song by Li's love interest, and a horribly politically incorrect sequence in which Li accidentally smothers his gal's dog, buries him, and then decides to roast and eat him.

Of course, the real reason to watch the film is the fight scenes, and they certainly do not disappoint. Li and his fellow monks employ virtually every style of Chinese fighting imaginable: hand-to-hand, boxing, kicking, staffs, swords, weighted chains, three-sectioned poles, etc. etc. The crude filming techniques in some ways are an asset, as there's virtually no wires, special effects or trick photography employed. You really get a sense of the fighter's athleticism and speed, with many scenes a sight to behold.

Check out this scene in which a curious Li gets his first glance of the monks in action.
http://www.youtube.com/watch?v=a8esZFjuNvI&feature=fvsr

And then my personally favorite scene (part of the inevitably training montage) in which a now trained and confident Li executes a series of complex kung-fu forms.
http://www.youtube.com/watch?v=fTIm8b9Rft8&feature=related

So check it out for some truly impressive Jet Li action.

Fun Fact Friday: Effect of Sleep Deprivation

To build off of yesterdays post, here is what happens when you don't get enough sleep:

Without adequate rest, the brain's ability to perform simple tasks is reduced. Prolonged deprivation can even cause hallucinogenic episodes and psychiatric problems.

Other possible effects of sleep deprivation include: Depression Heart disease Hypertension Irritability Slower reaction times.

On a side note, while it shouldn't be a substitute for sleep, according to Air Force tests caffeine is the best stimulant to keep you awake and alert. They tested different substances with pilots (some more illicit than others...) in order to determine what would be best to keep them awake on long flights/missions.

Don't fight tired! If you have no choice for god sakes drink some coffee...

Greg

Think Tank Thursday: Fatigue

Driving halfway across country gets my mind thinking about fatigue and its affects.

Theatre is notorious for keeping its actors, designers, and techs up wee hours into the night/morning. This is painfully true during tech/opening week. Since most Chicago actors are pulling day jobs to make their bread taking a day off can be difficult.

This leads to dangerous fatigue in a very stressful time. The first performance with an audience will see speeds drastically increase and intentions intensify. If this is coupled with adrenaline from fatigue mistakes can (and do) happen.

The solution lies in better management of time in rehearsals, especially in the week of opening. The process for putting up productions has remained unchanged for decades. There surely are ways to do what is technically necessary without exhausting the cast and crew.

As an actor performing stage combat, be sure to protect yourself and fellow cast by being as rested as possible. As hard as a money hit may be, if that is your only option (it shouldn't be) then it is better than an injury that could end or alter your career. You also have the right to be sure your fight partner(s) are rested and able. If at any point you feel unsafe either perform the fight slowly or cut it. No amount of money, no review, no role is worth injury.

Greg

Traveling with Weapons - Weapons Wednesday

Hey cyberfightpeople,

Any of you ever tried to take swords on a plane? Know what's best when it comes to transporting blank rounds for theatrical firearms? Ever gotten stopped by a cop cuz there's a sword strapped to your back?

Moving around your weapons with you can be a risky business. There's no OFFICIAL way to do this correctly. While laws and regulations vary by location, here's a few general tips for touting around your pointys and bang-bangs.

In General:

• Refer to them as "Theatrical Props", not weapons
• Make sure to mention they're dull
• Cover them completely when carrying them around outside the rehearsal room/theatre
• Keep all theatrical firearms LOCKED in their cases when transporting.

Airports:

• DONT TRY TO BRING THEM ON THE PLANE, STUPID! Check them underneath.
• Declare you have them. Call them theatrical props. Mention they're dull. Explain why you have them... Best not to surprise them with it.
• Do NOT take/ship ammo (blank rounds) on a plane, even if they are checked. The significant changes in air pressure are not good for them. They must be shipped on the ground. There are laws allowing very specific amounts and kinds of ammo, that change all the time and are different per airline and state. They also involve the department of Hazmat. (READ AS- Too much headache than its worth)
• Use TSA approved locks when you use locks.

College/School Campuses

• Notify the campus security that you'll be using/transporting them (if its in and around a theatre building, they are probably used to it)
• You may be required to have an escort

The best thing in any situation is to use your best judgement, and realize that these things are designed to LOOK real. People/Police will not just assume they are fake.

If there's ANY question of the best way to do it ASK. Ask other fight people, ask the facility, or ask the community here at Fight Jam and we'll point you to someone who can answer it for you.

Be safe. Have fun. Stay Kosher.

-Zev

Text Tuesday: The Armourer and His Craft

From the XIth to the XVIth Century by Charles ffoulkes.

This book takes a look soley at the craft of making armor during the 11th-16th centuries. In the introduction ffoulkes explains that the art of sword making has been covered many times over but he feels that the craft of making armor has been neglected.

It is an easy read considering the subject matter. A lot of books about historical weapons and armor become very dry and technical. There are a few sections where ffoulkes book gets into very specific, technical detail, but in general things are kept in a much broader scope. He talks about trends of the time period and which country was the leader in producing certain types of armor or materials. It is humorous at times to read how each country felt about the other and how they expressed the pride in what they produced.

Overall the book is fascinating, illuminating tons of information and facts about armor and the time period. Using the information on how the armor developed you can make easy inference as to how people fought and moved in and out of the armor at the time. The book also gives great clues as to how people viewed violence during that period, something that adds great importance and detail to a fight on stage.

While you may never end up making your own armor this book is a great read to gain new or more information on that period in history.

Greg

Martial Arts/Movie Monday: East vs. West - Jackie Chan's "The Protector"

(First off, sorry for the premature posting earlier)

Recently, I've been working on a list of recommended martial arts films for the updated Fight Jam website. It gave me a chance to revisit some of my favorites. Casting a nostalgic eye, I stumbled back upon the largely forgotten film "The Protector."

"The Protector" (Not to be confused with Tony Jaa's 2005 kickboxing film "Tom Yum Goong" which was also called "The Protector" in the U.S.) was made in 1985 and is an earlier attempt by Jackie Chan to break into Hollywood. He was already a big star in Asia thanks to his kung-fu comedy films (Especially "Drunken Master" (1978) and "Project A" (1983)). And he had already made a few U.S. films, though with little success. "The Big Brawl" (1980) was a pale imitation of his Hong Kong films, directed by Robert Clouse (who had directed Bruce Lee's classic "Enter the Dragon" (1973). Chan's appearances in "The Cannonball Run" (1981) and "Cannonball Run II" (1984), car-chase comedy films directed by American stunt superstar Hal Needham and starring Burt Reynolds and Dom Deluise didn't use him too well, and did little to further his reputation.

But Chan was persistent, and like a lot of people in the movie industry around the world, still held onto the dream of Hollywood. Thus, he gave things another shot with "The Protector." The movie was directed by James Glickenhaus (Known best for the nauseating crazed Vietnam Vet revenge thriller "The Exterminator" (1980)) and cast Chan as Billy Wong, a Hong Kong expat living in New York and working as a police detective.

The film is a pretty run-of-the-mill 80s buddy cop film, with Danny Aiello (who would later become famous in movies like "Moonstruck" (1987) and "Do The Right Thing" (1989)) playing Chan's partner. But the main problem is the film's tone. Chan had distinguished himself from other Hong Kong martial arts stars trying to claim the late Bruce Lee's mantle by making himself into kung-fu's clown prince. Whereas everyone else was trying to be a badass, Chan's characters were hapless, often naive, frequently finding themselves in fights that they wanted no part of. Despite the dexterity of his skills and stunts, Chan always made it look like he was as surprised that he survived a fight as the audience. He also incorporated slapstick borrowed from silent film stars like Charlie Chaplin and Harold Lloyd, and would often make unorthodox use of everyday objects as weapons. Check out this clip from his Hong Kong hit "Project A" (1983) as an example: http://www.youtube.com/watch?v=-Fl43rq3Zqw.

For some reason, director Glickenhaus and the studio felt that Chan would do well if he played his part straight and dead serious, like an Asian Dirty Harry. The result is an uncharacteristically grim performance from Chan, shorn of any of the joking or silliness that his fans enjoyed.

This idea carried over into the fight choreography. Chan wasn't allowed to stage his own fights and stunts, as he did in Hong Kong. The results are not bad, strictly speaking, but they have none of Chan's typical spark or imagination.

However, Chan had the last laugh. "The Protector" was partially filmed in New York, but all the interiors were filmed at soundstages in Hong Kong. After the U.S. producers finished, Chan went back to the sets with the cast, re-filmed the fight scenes with his own choreography, and even added a subplot to give the film a more comedic tone. We in the U.S. were unfortunately saddled with the original version, while Asian audiences got more of the authentic Jackie.

Take a look below. The following clips are taken from a climactic fight scene between Chan and American karate star Bill "Superfoot" Wallace. The first is the U.S. version.

The Protector, US version
http://www.youtube.com/watch?v=RVqBWwDIkvE&feature=related

Now here's the Hong Kong version of the same scene.

The Protector, HK version
http://www.youtube.com/watch?v=ltv79FFR4Ro

The two make for a very interesting contrast between Asian and U.S. approaches to hand-to-hand combat in film (at the time). The pacing and editing of the HK version is considerably faster. The individual moves of each of the combatants also involve a greater combination of moves and techniques.

"The Protector" didn't do too well in the U.S., so Chan headed back to Asia and kept doing what he did best. America finally caught up with him in 1996 when "Rumble in the Bronx" was a surprise hit, followed by the wave of U.S. films that fully embraced Hong Kong-style choreography ("The Matrix," "Charlie's Angels," "Kill Bill: Vol. 1").

Fun Fact Friday

Swords and armor in Europe were made in a factory like setting, not by one person alone doing all jobs.

Each person had a particular job/responsibilty. One person ground blades. One made hits. One pommels, one grips, and one put it all together.

The person who made the blade had that as their sole responsibility and they kept the process they used to temper the blade a secret. They didn't fully understand the process steel undergoes when tempered but had routines developed to repeat earlier successes. It's understandable why their secret was so guarded. Whomever had the best blades got the most work.

Greg

Think Tank Thursday: Historical Accuracy vs. Function with armor

It's  rare that armor is used on stage. It's expensive, heavy, cumbersome, and hard to keep clean.

If you do end up using armor there are trade offs for historical accuracy over stage needs.
You may not have your play in the lucky time period or setting to have the best armor technology available. At armors high point it was designed for optimal movement in battle and protection. As things continued past the peak, armourers had to do something to stand out so they started decorating. Ae the decorations increased the function decreased. If people couldn't move well back in a type of armor then you can bet people can't move well now.

Then there is fastening the armor. Historical armor had steel fasteners on  the outside with leather straps on the inside. This was to protect the leather from being attacked and disabling the armor. For stage, having the leather on the outside allows for ease of wear and removal and more room to adjust to different wearers and body types.

Then there is the type of metal, where its from, its shape, design, etc. In the end you have to decide if all the detail is worth the added stress added to the costume department and the actor wearing the thing.
The audience will notice the work and appreciate it, but if the story isn't enhanced then its all superfluous.

Greg

Text Tuesday: Passion and Reason

By Richard Lazarus

Richard Lazarus is one of the foremost authorities on emotion. This book explores how emotion is not something that comes completely out of nowhere (even though with some people we swear it does). He goes into great detail how emotions are connected to their own logic and cause/event back story. It's also backed up by credible science and experimentation.

The book reads extremely well for something based in so much fact. A good deal of psychology based books are dry and hard to get through. Lazarus is able to keep you engaged and excited (not Harry Potter or Lord of The Rings excited but good enough).

The benefit for actors, combatants, directors, and choreographers is huge. He clearly breaks down what the Universal triggers for each emotion are and how each emotion is viewed/portrayed. Having a detailed map makes choosing the most effective action/reaction in a scene easier and based in a more even share of logic and feeling.

This book is truly fantastic and if it doesn't help you theatrically it will surely open your eyes to things in your personal life.

Greg

Martial Arts/Movie Monday: And a Blind (Swords)man Shall Lead Them

If you're a fan of samurai films, chances are you've definitely come across the character of Zatoichi.

Zatoichi is a famed fictional swordsman whose adventures are set during the later Edo Period (1603-1868) of Shogunate Japan. Originally created by novelist Kan Shimozawa, Zatoichi is noteworthy for the fact that he is blind, yet possesses nearly superhuman senses that make him a deadly swordsman, as well as an expert gambler. The character came to fame through a series of 26 films (made between 1962 and 1989) and a 1972-74 television series developed by Daiei Studios and starring actor Shintaro Katsu (who also occasionally directed).

I'd like to stress that Zatoichi is not a samurai, who were the ruling upper class of Japan, as well as its warrior class. His everyday guise is that as a masseur, which was one of the few jobs open to the blind in old Japan (and made him part of the lower classes). Also, as a gambler and lone swordsman, he and his adventures are part of the yakuza-underworld.

On the whole, the series didn't have much variety. As with American TV shows like "The Fugitive" or "The Incredible Hulk," Zatoichi would wander from town to town, coming in contact with people being oppressed by gangsters, corrupt officials and the like. Initially, he would be welcomed by the kind and despised (and underestimated) by the bad, finally unleashing his skills upon the unsuspecting enemy when the moment called for it.

Clip of Shintaro Katsu as Zatoichi: http://www.youtube.com/watch?v=_wSoBE75WXY

However, in its familiarity, it's easy to see why the character and the series has remained popular to this day. Quentin Tarantino included a tribute to star Katsu in the credits of "Kill Bill: Part I." Film number 17 in the original series was even remade in 1990 as "Blind Fury" starring Rutger Hauer. ("Blind Fury" clip: http://www.youtube.com/watch?v=yi-q2wfKgQo)

Katsu died after making his last Zatoichi film in 1989, but the character is far from forgotten in Japan. In 2003, famed Japanese actor/director Takeshi Kitano made a quirky, internationally-award-winning remake (simply titled "Zatoichi").

Trailer for "Zatoichi" (2003): http://www.youtube.com/watch?v=2F_zjwDPLPk

All the films are available for rental and sale in the U.S. I highly recommend checking them out. They're a treat.

Fun Fact Friday: Gun Fu and John Woo

Director John Woo is widely credited with originating the style of Gun Fu in the Hong Kong film "A Better Tomorrow" in 1986. The film launched the " Heroic bloodshed" genre in Hong Kong, and "gun fu" action sequences became a regular feature in many of the subsequent heroic bloodshed films. The style also spread westward and transitioned Hollywood out of the more heavy hitting, brute force, big weapon style of gun play that dominated the 80's.

Greg

Think Tank Thursday: Physical Violence is Not Interesting

It's the intention behind the violence that is interesting.

It's why a showcase of just fights is not appealing for very long, even to an audience of fight people. Sometimes the movement will be exhilarating or fantastic, but to hold our interest the movements following have to continue to build and excite. This would be detrimental to a play because it would take focus away from the story and put instead on the immediate physicality.

Intention is what makes movement interesting. Reaching for a cup is just a movement. Reaching for a cup that has the only clean water you have seen for days and you are on the verge of dying but have to restrain yourself in the presence of others, is a story. Same movement but one is infinitely more interesting to watch.

For us as choreographers we have to resist the temptation to add something in because its cool. Moves that wow the audience can be as simple as a well placed, well motivated slap. Save your energy, save your actors energy and lower your stress about someone getting hurt.

It's good for everyone in the process to remember that the story is why we all have jobs.

Greg