醉拳1978粤语

Introduction
        The use of props in Jackie Chan’s action comedy not only shows his innovative and spontaneous kung-fu style, but visualizes the changes in his emotions towards his opponents as well. While traditional action films are anarchic, rebellious, even violently vengeful, Jackie’s creative use of random objects as his weapons makes his action comedy fun and unique. More than a physical comedy, Jackie’s is almost a comedy of physics, where vectors and velocities are precisely calculated (Kehr).
         The scene under analysis is chosen from Drunken Master (Yuen Woo-ping, 1978). It is located at the 68-70 minute time period of the film and depicts the fight scene between Iron Head Rat who cheated in the gambling game and Wong Fei-hong (Jackie ’s character) with the assistance of Master Su. The plot between characters and the creative fights intertwined, making the scene vividly dynamic.

From Pants to Hammer
        Jackie can fight using random objects. He always gives himself a disadvantage by starting beneath his opponent, and being an underdog, he is forced to get creative using anything around him. This makes each fight organic and grounded, and amuses the audience with jokes that could not happen anywhere else (Zhou).
In this particular scene, he used a pair of pants, a wooden board, a wine jar, and a hammer. From my point of view, the chronological order of Jackie using these props is not unintentional; the degree of solidity increased as he became more confident opposing Iron Head Rat. Jackie started the fight with fear for Iron Head Rat who could crash bricks with his head. Using a pair of pants to block Iron Head Rat’s sights, Fei-hong came to understand that his opponent was not undefeatable and continued seeking harder props that could resist iron head.
        It was a surprise that Fei-hong finally defeated Iron Head Rat with a hammer, enhancing the light atmosphere and the film’s comedy characteristic. It was more surprising that there was a Bruce Lee reference – Jackie used the hammer as nunchaku. As Jackie commented on himself, instead of making intense movies, he made light ones. Jackie has defined another version of heroism, one with a good-humoured willingness to suffer and win in an unexpected way (Bordwell 34).

Human as a Prop
        It was the first time where Fei-hong and Master Su cooperated in a fight against one opponent. Instead of taking turn to fight with Iron Head Rat, Master Su used Fei-hong as a prop with acrobatic actions. The plots were short and the emotions were straightforward. Each action was precise and clear. With this expressive amplification, the audience could read the performers in a glance (Bordwell 146).
        Emotions were expressively amplified also through the intensive use of medium shots and closeups, especially for Iron Head Rat. Different from other kung-fu, his head was the weapon, and it became more convenient to keep the focus on his facial expressions details. Overall, the film’s editing linked fragments of actions and magnified the emotional dynamics of the performance. The transitions from medium and long shots to closeups and vice versa were natural and smooth, making it comfortable for the audience to understand the fights.

Conclusion
        Jackie’s creative use of props in the fight scenes amplifies expressive force. Kung-fu actions of unarmed fighters may seem repetitive after a while. By bringing random objects in our daily life to the fight, Jackie managed to bridge the gap with the audience and attract their attention. With the expressive amplification of camera shot filming techniques, Jackie’s action comedy enables the audience to enjoy gags and actions at the same time.

Works Cited

Bordwell, David. Planet Hong Kong - Popular Cinema and the Art of Entertainment (2nd ed). Irvington Way Institute Press, 2011.

Drunken Master. Dir. Woo-ping Yuen. Seasonal Film Corporation. 1978.

Kehr, Dave. "Chan Can Do." May/June 1988. Film Comment. //www.filmcomment.com/article/jackie-chan-samo-hung-profile/. 14 February 2018.

Zhou, Tony. "Jackie Chan - How to Do Action Comedy?" 2 December 2014. Every Frame A Painting. //www.youtube.com/watch?v=Z1PCtIaM_GQ. 14 February 2018.

1.对醉拳认识：似醉非醉，以醉态、醉意来迷惑对方
讲究虚守实发，逢击而避，乘隙而入，指东打西。
2.习武根基：
通过令人跃跃欲试的”器材“和五花八门的方式培养习武根基（练功），锻炼腕力（正反手俯卧撑）、 腰力（倒挂取水）、 指力（掐核桃）
3.喜剧打斗：
一改老式武打电影严谨作风，将嬉笑怒骂的招式和随手抄来的家伙（多半是生活工具），给观众以轻快随意的呈现
4.在招数用尽之后，自创一套何仙姑拳。高手过招，到最后经常都是无招胜有招，就好象独孤不败，手中无剑，心中也无剑。
5.BGM堪称经典，袁和平用了古曲《将军令》做配乐，第一次把《将军令》用进了电影里，让人热血沸腾。于是，后来的名家也纷纷效仿，再到后来被黄霑填了词，成为唱遍大江南北的热门金曲《男儿当自强》。
6.文戏部分，袁小田与成龙把酒对诗一段最为精彩。当念到“对影成三人”时，便一个镜头打到袁小田在墙上的影子，而念道“欲饮琵琶马上催”时，则成龙已经醉倒在“马”（凳子）上了。这一段对酒当歌，把师徒二人之间由疏远到亲近的关系描摹的十分妥帖，当真是“醉翁之意不在拳”。

在李小龙之后，功夫片出现了迷茫以及粗制滥造，袁和平和成龙的几部电影，打开了谐趣功夫片的新路线……很明显，袁和平的影片和刘家良是一脉相承，他强化了人物对战，且是过于强化，电影语言相对简单，大量的长镜头是对战变得冗长，好在袁和平是武术指导出身，他将对战加入了大量杂耍和创意，利用生活道具，使长时间的对战不再枯燥，同时，人物本身也携带了喜剧因素，是对战乃至整部影片和喜剧片进行了融合……这又带出了另一个问题，那就是袁和平的这几部电影毫无深度，来来去去都毫无由来，黄飞鸿是主人公，但只是符号化的存在，和黄系列丝毫沾染不上，不存在民族主义……影片的主人公是亦正亦邪的年轻小人物，他们要颠覆父权，却又归顺于父权，他们自身不完美，需要借助外力强大，然而最终仍然是为了父权而存在，78年文革结束不久，这又何尝不是香港这个他者对大陆和英国二者之间游移的写照呢……自李小龙后，功夫片开始赤裸上身，这是明显的模仿，很快，人们便忘了袁和平，只记得醉拳的成龙，演员开始对电影定义，成龙也成为了功夫新标签……而另外一支的武侠片的代表徐克，受新浪潮影响，再多年后才名扬……