By | Published January 14, 2010

Toronto-based newspaper the National Post published an article by Melissa Leong on the future of kung fu movies that paints a bleak picture of the genre’s prospects and I am partly to blame.

Using the release of Jackie Chan’s THE SPY NEXT DOOR as a launch pad, the piece lays out a familiar situation for longtime genre fans who have seen their favorite stars age, the decline of Hong Kong’s film industry and declining interest in kung fu at the box office and on DVD on both sides of the Pacific. There is also the trend of favoring CGI, wires and editing used in place of talent and a thinning population of prospective young stars with genuine screen fighting talent to replace aging veterans like Jackie Chan and Jet Li.

It isn’t all doom and gloom. Hong Kong movie producer and kung fu movie expert Bey Logan is quoted as saying, “There’s a shift back towards the real thing.” Although what exactly he’s referring to isn’t clear. He also points out promising young stars like Jacky Wu Jing and suggests that his longtime friend Donnie Yen still has a future in the genre now that he’s on top, even at age 46.

Then I come along in Leong’s article with the grim counterpoints by first mentioning that the genre has regressed in 2010, a year in which Sony Pictures is going to release a wushu movie set in China and starring Jackie Chan under the title THE KARATE KID. This follows with my positively depressing prediction that there is no one who will be able to step up and replace Jackie Chan or any of his equally talented peers.

While these sentiments do reflect my thinking they don’t reveal the whole picture which is more hopeful. While I do believe we’re heading into a period where emerging Chinese martial arts stars will be unable to match the successes of Jackie Chan, Jet Li and Donnie Yen I also believe that this is part of the evolution of cinema and the constant regeneration of genre filmmaking. Film trends are cyclical as we can see with the recent resuscitation of the sword and sandal genre thanks to films like GLADIATOR and upcoming fantasy actioner CLASH OF THE TITANS.

What will be different for the kung fu genre going forward is that as the Chinese and Hong Kong film industries continue to mature we’ll see fewer kung fu movies but overall they will be made better. Despite having less money than Hollywood, Asian studios are already turning out sophisticated, highly polished martial arts films like KUNG FU HUSTLE, BODYGUARDS AND ASSASSINS and THE STORM WARRIORS. These films are a far cry from the low-budget kung fu movies of the ’70s that recycled old sets and didn’t even use Sync Sound. Chinese martial arts movies of the 21st century feature massive outdoor sets, lush production design, elaborate digital effects, and increasingly refined sound, camera operation and scoring that would all be the envy of Shaw Brothers even at their peak.

What is increasingly lost in this playground of high-tech, post-production intensive filmmaking is the human element that once made low-tech movies like DRUNKEN MASTER so entertaining. Yet China’s film industry has been here before.

In the early silent era of cinema, effects-laden fantasy and swordplay films were hugely popular in Shanghai. Having seen one of the few surviving silent wuxia films from this era, I can say they suffered from the same problems associated with today’s action films. Essentially, filmmakers and audiences alike become bedazzled with the tools of the trade rather than their role in complimenting a well-written story or well-choreographed fight sequence. Every time a new set of tools is introduced, this becomes the trend.

Right now, we’re experiencing the relative infancy of digital cinema and all that it has to offer from computer graphics and augmented reality to new high-definition and 3-D screening technologies. Looking at blockbuster hits like TRANSFORMERS and AVATAR this is what is currently driving the film industry. Yet when the silicone dust settles from this storm of technological innovation, audiences will remember what matters, the human spirit, whether exhibited through an impassioned monologue, a death-defying stunt or a jaw-dropping display of martial arts prowess. When that happens we may see a new and revitalized era in kung fu moviemaking emerge from China to capture the same spirit that Bruce Lee did back in 1972.

In the meantime, there are in fact a lot of talented young men and women in Asia who could still represent the future of kung fu cinema given more time. I would look to Jacky Wu Jing, Andy On, Jiang Luxia, Wang Wenjie, Nicholas Tse, Philip Ng, Xing Yu, Fan Siu-wong, Timmy Hung, and many others.

  • http://www.wirthconsulting.org Kraak Mo

    There may not be a current demand for wushu films but Asian martial arts films are still big IMO. I've got two words of comfort for you all–TONY + JAA. Now that's a “shift back towards to the real thing,” wires and CGI be damned.

    For example, I gave THE PROTECTOR DVDs to a group of younger relatives for Xmas presents. I was pleasantly surprised that virtually all of them already knew about Jaa and thought that THE PROTECTOR (and ONG BAK) was awesome stuff.

    Like you said, film trends are cyclical and I expect wushu films will live on. I also think the analogy to Westerns was not a good one as they fell off a cliff and never really came back.

    Nevertheless, we can take solace in the fact that even though there won't be as many wushu films produced, the ones that make the cut will have superior overall production quality. After all, actors/directors like Sammo Hung, Ma Wu and Lau Kar-leung are still alive (and kicking) and have already demonstrated that they are more than capable of producing “traditional” wushu films.

  • http://twitter.com/nectarsis Byron Brauner

    Sometimes a “lull” can be beneficial. Kind of like the calm before the storm. It makes a resurgance that much sweeter.

  • Cameron

    The fatal flaw in her argument is that short cuts and tight editing can replace the real thing. I'm sorry but that's the origin of the problem. Hollywood has taken the martial arts film, used it and abused it and people are not paying attention anymore because they know exactly what they're looking at: a bunch of actors who couldn't punch their way out of a wet paper bag but are made to look decent with editing tricks. No wonder martial arts movies are dying.

    Donnie Yen will be the leader of kung fu films for the next 10 years. He realises that there is no-one else to take over so he will have no choice to take on the mantle. Maybe this will give Wu Jing, Scott Adkins & Tony Jaa time to hone their acting skills to at least carry some emotional weight in a film.

  • 8thFortune

    I have been a fan of the “fu” for over thirty years now. In high school in the late 70s, my friends and I would go to Chinatown on the weekends to see triple features. That was how I discovered Bruce, Jackie, Sammo, the Venoms mob and everything Shaw Bros. It was our thing, the cool thing that the main stream, the squares, didn’t know about; the Five fingers of Death, the 36 Chambers etc. What was special about those films in those days was the very fact that they were so drastically counter to everything Hollywood. They had a cinematic language of their own, the familiar whoosh of a punch, and the explosive canned smack of a connection, the dramatic poses and the intricate wushu blocks. To those not indoctrinated into the fray these things seemed cheesy, but to us, the fateful, this was pure cinema, this was everything Hollywood wasn’t.
    Somewhere in the back of our minds we wanted to see Hollywood make these films, or see Hong Kong make them like Hollywood might make them. What I have learned is to be careful what you wish for, because you just might get it, and that is just what happened.
    Now Kung Fu movies are spoiled by trying to appeal to an audience that has grown up on over blown, over hyped, over CGI’d Hollywood junk movies full of spoiled false idols, and stale unchallenging choreography. Everyone has been let in on our thing, even the squares.
    I write all of this to say that the future of Kung Fu films may seem bleak only because, along with us, they grew up, they lost their authenticity, their innocence. They have become too sophisticated for they’re own good, like Disco, Punk and most recently Hip-Hop. Lets face it: we still want to love them so that we can recapture our youth – I miss the old days, the old sounds, and the innocence.

  • http://www.facebook.com/musicvibes Kevin Celebi

    After seeing Ong Bak 2, there is no doubt in my mind that Tony Jaa can do whatever the hell he wants martial-arts wise. He just needs to break out of the one-movie-every-4-years habit. Donnie Yen is still the best but I also see promise in two lesser-knowns: Marko Zaror and Cung Le. These guys represent a new trend in martial arts skill – size and strength. They're big and strong but also have lots of dexterity. I also think that Dan Chupong shows a lot of promise but I think he's doomed to spend his life in Jaa's shadows.

    BTW: props to Mark for mentioning Andy On. This guy is both cut and charismatic and will be in many great martial arts movies in his prime.

  • jiujitsu77

    well i can say i find that, besides tony jaa (yea yea i know he is a thai actor), it will be hard to put a face on “new Kung FU cinema”. However, martial art films in general may not lose interest with the public. it may very well be just the Chinese centered period pieces and action thrillers that won't hold. with the rise of MMghAy, one can only assume that fight flicks will stay the rage….which may be the new tag “fight flick” rather than kung fu flick. dunnoo just a thought.

    and by no means am I anti mma. I just have issues with it. big frosted haired, tapout shirt wearin, roid ragin', shit talkin, douchecougar issues.

  • pg13myass

    I have to agree somewhat to this article. As in today's cinema, action seems to have geared more toward the oversaturated CG wirework with pretty young actors with no real physical talent. There was also mention in an interview with Yuen Wo Ping you posted earlier when asked about the future of HK action stars in Asia. And even he seemed pretty pessimistic in his response. But, he kept optimistic by saying he's looking around in China.

    Here is the thing though, you can look at China all you like, but the old school tradition of 'kung fu' has grown extinct. The last remaining traditionalists in my opinion have always been Lau Kar Leung and Sammo Hung. You look at the works of Tony Ching Siu Tung, Corey Yuen, Yuen Wo Ping, Tung Wei, etc. A lot of it is very stylized wushu or the 3 beat Jackie Chan influenced choreography. If you're talking about the long, tracking shots that consist of 10 – 15 or more martial movements from the likes of Lau, Sammo or Robert Tai, that is what is missing. It's missing because no one does that style anymore. No one wants to do it and it's hard. Wushu is great and all but the last few people from a wushu background that have made any big splash in the martial arts/action genre have been Jet Li and Donnie Yen.

    I have to leave out Wu Jing as he doesn't feel like a bankable 'star' and I don't see it in him when he headlines a movie. Jackie may have looked funny, but he was smart and he figured it out. Wu Jing looks funny but he's doing what Jet has been doing already. Wu Jing isn't doing anything new.

    Tony Jaa is just a super flashy trickster but when you put him in the old Shaw Bros. choreographed scenario, I'd like to see how he lasts. Unfortunately, mine and many others who share my views just don't see that happening as the new generation of kids love their MTV style quick cut edits and flipping and kicking. Parkour/Freerunning? Jackie Chan has done that for ages!

    I do think there is some small hope, it just needs to find it in someone who has that old school skill but for modern times. If we can find one, we just need to figure out how to market that to reboot the martial arts/action genre.

  • david0071978

    I think that part of the problem is that a lot of the up and coming talented young men in Asian Cinema are barely known over here in America and thats because most Asian Cinema isn't available here. Given more time and more exposure here in the states stars like Nicholas Tse, Andy On, and Philip Ng could become huge stars.

    Also you should lookout for 2003 US Wushu Champion DY Sao in his first feature film Champion Road Arena coming out on Dvd in February, He also did most of the choreography and It has 19 fight scenes

  • http://crosenblum.myopenid.com/ Craig

    I agree, the problem was never the technology, it was that the demand was for phony kung fu, and i loved the older stuff like five deadly venoms…no stunt doubles there…

    i want more realistic stuff…

  • gregorysmith

    I agree I grew up during the area when martial arts movies first came to the US. I remember see King Boxer for the first time aka( Five Fingers of death) rthen came Bruce Lee Which he actullly got his start in the Green Hornet. Shaw Brother was like the king production company for Martial Art movie inthat time waht came out a therte was uasually bette then most. The problem with the new stuff is its lost it edge even though the have bette production vaule the still rely on CGI Affects to carrie non qualified actor who have know martial arts back ground. One thing Hollywood and all European production companie have to realize the audience isnt an naive or dumb about the genrea any more like we were back inthe 70's and early 80's Asian too has had alot of thert top director educated in europe and the US on film technology more so then the older directors but has lost creative that most of them the veterans of this cinema genrea have. Need more talent real lif martial artist like Jackie Chan and Bruce Lee who is responsible for all this.. give homage to whom its well deseverd for RIP rest in peace Sifu Lee

  • kris

    If we are talking about REALLIFE martial artists acting in and making good kunfu films; then Nicholas Tse is not one(he is by no means a martial artist. Let's just say he is as much a real kungfu as Chow Yun Fat).

    BTW, don't forget about Tony Jaa.

  • http://www.facebook.com/people/Daniel-Anderson-Craft/1078925675 Daniel Anderson Craft

    I agree with Mark for the most part. But I think people don't focus enough on the non asian side of martial arts filmmaking, several of the best fight films I've seen lately have been western produced. both Blood and Bone and Ninja are better fight films than most HK films I've seen lately. As for Wu Jing, I know he has the physical skills but he lacks the charisma to carry film despite over a decade of trying, I don't see him breaking out frankly.

  • david0071978

    That's not entirely true anymore! Nicolas Tse has been training in Wing Chun for almost the past three years making his recent and future Martial Arts Roles Authentic and not just film fighting anymore!

  • stdthagreat

    I don't know what the future holds for this genre but we must support those who make MA movies with authenticity to keep the genre going.

  • http://wildgrounds.com/ Michael

    Strangely, you didn't mention Yuen Woo-Ping's True Legend, which is supposed to mix old school spirit with technological innovations. It should be an interesting step to follow.

  • http://www.kungfucinema.com Mark Pollard

    I'm cautiously optimistic about TRUE LEGEND. Yuen Woo-ping has helmed some truly great kung fu movies but also some mediocre films as well. I hope he succeeds in merging old school spirit with innovation. The genre could definitely benefit from that.

  • shinhyeon jun fan #1

    yeah but Nic tse has been training in wing chun and several other types of martial arts for the last few years. He is also a good actor I.E.
    THE BEAST STALKER . He is 29 approx. and has yet to come in to his own.

  • flagday

    the bottom line is that kung fu movies are difficult to translate into a modern setting. Any idiot can shoot a gun and prevail in a fight with guy who has trained in MA for a decade. If there are plots which can effectively use MA then we would all like to see them. I guess everyone has to run out of bullets. Hand-to-hand contact is still instinctively gut-wrenching for an audience.

    I agree with David. D.Y. Sao and the guys he works with deserve a chance to do some American versions of martial arts themes. The Arena movie is a good start but it would be great to see an entire movie featuring skilled fighters.

    Audiences are not entirely stupid. People know that quick cuts and multiple angles are just coverups for crappy fighting. I don`t see anything wrong with using the myriad of camera techniques available to enhance a trained pair of fighters going at it (something that just wasn`t available 30 years ago).

  • jason79

    I think Karate Kid, like The Forbidden Kingdom, will be a great film for inspiring new/younger audiences to discover MA films new and old. I grew up in the 80's watching Jackie Chan and Jet Li on rental videos from a little store in Chinatown (Australia) which inevitably led me to discover Shaw Brothers movies.

    Does the industry need one big star? Why not several? The MA genre has many promising stars – Wu Jing (big respect), Tony Jaa, Yanin “Jeeja” Vismistananda (Chocolate), Iko Uwais (Merantau), Jiang Lui Xia to name a few.

    Yuen Woo Ping and Sammo Hung are still active as action directors, and I'm excited to see actor/action director Xiong Xin Xin has his directional debut with Coweb.

    Maybe the “trend of favoring CGI, wires and editing” is less to do with a talent drain, but a stop-gap for memorable (action-packed) storylines! A script writers challenge.

  • http://twitter.com/4typhive Shawn Frierson

    I would have to respectfully disagree with your first paragraph. Kiss of the Dragon with Jet Li proves that point.

  • http://twitter.com/4typhive Shawn Frierson

    I wasn't a fan of Ninja, so I don't think that to be a great representation of the non asian side of MA. IMO, a better example are the Bourne movies.

  • flagday

    Thank you Shawn for `respectfully` disagreeing with me. And you cite one example which made me laugh a bit. KOD is just about my favorite Jet Li movie – even more than FOL or the OUATIC series. But even though I love it I had to suspend disbelief multiple times when a gun could have ended the scene quickly. That`s OK though. Even Bruce Lee in his famous interview [[[ http://www.youtube.com/watch?v=RRdTJi0v3fQ&feat... ]]] at around the 8 min 20 second spot describes the difficulty of kung fu in a modern setting. Jet Li has also said something similar. It does not mean that it cannot be done but it is just more difficult in a modern setting.

  • Al

    I think we should change our idea of what a martial arts arts film is. I felt that the Jason Bourne films are some of the better martial arts films of the last few years. I doubt that most would consider those as kung fu films.

  • 8thfortune

    I’m very sorry but the Bourne films are not martial arts films. I am a fan of the films but they are in fact the perfect example of the problem. These are, false Idol films. Films were you take any old Hollywood star and conveniently pretend that he, or she can fight by doubling them, shaking, under-cranking, and over editing the hell out of the scene. I don’t think that most people understand this – these films undermined and kill the very idea of “specialty.”
    Remember, Bruce Lee wasn’t just any old actor, he was special. It took almost 20 years to replace the hole that he left after his death in world cinema. Jackie Chan in his most productive and innovative days couldn’t be touched in terms of creativity. In the realm of dance, can Matt Damon replace Fred Astaire? You may think this is funny, but when they figure out that the Western audience can’t tell the difference if you shake the camera fast enough, well, they will always opt for the latter. And in so doing, we are deprived of greatness and bamboozled, and lulled into idolizing mediocrity when we should be celebrating greatness.

  • TheRuler

    I Feel the Matrix, Crouching Tiger Ruined martial movies today. Too much walking on water and walking on tree branches. lol. I wish they would remake old school kung fu movies like in the late 70;s and 80's. Magnificent Butcher, 5 Deadly Venoms, 36 chambers, Shaolin vs Wu-Tang, Mystery of Chess Boxing are some classic movies. The dubbed versions with all the extra hitting noises is what all of us remember from watching them 20 + years ago. They dont need big sets and costumes and so much wires. They just need to make small adjustments to the way they used to make them. Silver Fox, White Lotus, Venom mob are characters you always remember. If they actually remade 5 deadly venom's today and added more kung fu fighting with training and certain martial styles it would sell tickets. All of us older guys are waiting to see stuff like that. There are wicked movies out like Fatal Contact, Kill Zone, City of Violence just to name a few. If they want to grab the new kids of today they need to show some of the remastered Shaw Brothers in the Movie theaters today. Start to get a younger audience then have a movement of newer made Kung Fu Movies that are made like back in the day.

  • The Dragon

    “Thoughts on the future of kung fu movies:” The future of Kung Fu movies is right where it's been since Hollywood started “importing/diluting” the talent from The East…
    In the toilet.