From 1967, Operation Blue Wasp aka The Blue Bees!
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"A group of young models come to a remote island for some swimsuit shoot and a cursed zombie is awakened by accident..."
Bruce Lee finally comes to mainland China. That’s the angle many news outlets are taking in describing THE LEGEND OF BRUCE LEE, a 50-part prime time TV series described as a “biography” of the famed martial artist and film star that begins airing on state-sponsored Chinese television on Sunday. Despite dozens of films and TV series from Hong Kong, the U.S. and elsewhere that have depicted Bruce Lee and his life ever since his premature death in 1973, no attempt has been made by mainland Chinese producers, at least on this scale, to cover this topic until now.Read the full story here including details on the involvement of Mark Dacascos (BROTHERHOOD OF THE WOLF), Ray Park (STAR WARS: EPISODE ONE - THE PHANTOM MENACE), and Gary Daniels (CITY HUNTER). Here is an extended trailer (which just seems to be a loop of various versions of the credit sequences.
Critics have long felt that somehow the martial arts or action genre needed to be changed, elevated, abstracted in order to be considered "real art." White isn't entirely to blame for his misperception, he's merely toeing the critical line here, mouthing stale attitudes that are pretty common among film writers. Somehow action in movies is looked at with suspicion, whereas "longing and weeping" are considered "rich and real."
Physical performance is an essential - I would argue THE essential - part of true cinema. Buster Keaton is one of the world's greatest filmmakers and he built his career by developing ever more sophisticated ways to showcase his physicality in his movies. In his own way, Jacques Tati did the same thing, building movies that are no more and no less than the physical performance. Bruce Lee was not a great verbal or psychological actor, but the grace and power he brought to the screen was not some kind of chop sockey grindhouse guilty pleasure, it was a call for revolutionary awakening, a re-definition of what a Chinese man could be.
When Jackie Chan takes on a hundred hitmen in a teahouse in DRUNKEN MASTER 2, or a speeding bus full of thugs in POLICE STORY or an entire warehouse of drug dealers in DRAGONS FOREVER the contrived storyline becomes secondary to the amazing things he does. Chan's physicality is an affirmation of human potential and audiences never get tired of seeing him show what anyone can do if they put their minds to it, that there are no odds we can't overcome. These are visceral lessons, emotional effects provoked by action that can't effectively be broken down into words. Sammo Hung's agility in ENCOUNTERS OF THE SPOOKY KIND or THE VICTIM are ten-thousand word essays in grace as he pulls off incredible feats that belie his bulky body.