Snake in the Eagle’s Shadow (1978)

An old beggar (Simon Yuen) who reveals himself to be a Snake-Fist expert on the run from an Eagle’s Claw killer (Hwang Jang Lee) finds unexpected aid from an abused servant (Jackie Chan) at a kung fu school.

The film that established Jackie Chan’s comic-style kung fu was Snake in the Eagle’s Shadow. It was also a huge hit at the time of its release in 1978 and turned Chan into an A-List star in Hong Kong. The film is easily one of Chan’s best early works, thanks in part to the direction of Yuen Wo Ping, his father Simon Yuen who plays the beggar, and a villainously delicious performance by Hwang Jang Lee.

The plot has been used countless times within the genre. Although, the similarly titled Snake in the Monkey’s Fist (1979) may be the most obvious attempt to capitalize on this particular film. Shot before Drunken Master (1978) established Simon Yuen as the comical drunken boxer prototype, the film introduces him as Pai Chang Tien, a Snake-Fist master who is masquerading as an old beggar in order to escape from Shang Kuan Yin (Hwang Jang Lee), a master of the Eagle’s Claw form of kung fu. The two schools have been rivals for many years and Shang has made it his personal mission to wipe out any Snake-Fist practitioner he finds. Pai ends up staying with Chien Fu (Jackie Chan), a young servant at a kung fu school where he’s used as a punching bag by the sadistic and inept Teacher Li (Dean Shek Tin). Out of pity, Pai begins to teach Chien kung fu, but warns him never to use it unless absolutely necessary. When his school is challenged and defeated by a rival school, Chien’s master counter-challenges and loses. To save face, Chien jumps in and defeats the rival school with his new skills. Watching is Shang Kuan Yin who dupes the young man into believing he is a friend of Pai’s in order to find and kill him. Once Chien learns the truth, he comes to Pai’s aid by combining a unique “Cat’s Claw” style with the Snake-Fist to defeat Shang.

Snake in the Eagle’s Shadow is definitely a classic film that rates high on Jackie Chan’s filmography, but its notoriety has more to do with its initial success and influence within the HK film industry rather than the quality of its fight scenes. I’d like to say Chan is in top form, but his best work before he switched to contemporary action films appeared in The Young Master (1980) and Dragon Lord (1982) where his full creative fury was unleashed, for better or worse. There are definitely some highlights in this film such as the fight scenes he shares with Simon Yuen. The two compliment each other well as further evidenced in Drunken Master (1978). Yuen Wo Ping’s father is absolutely delightful in this film and gives his mentor role the kind of depth that few others could. In delicately broad strokes of acting Simon Yuen is mischievous, compassionate, and even dangerous. You definitely care about his well being and Chan’s desire to help him seems based more on a mutual affection, rather than simply a responsibility to one’s teacher.

As character actors go Dean Shek Tin is easily one of the most recognizable. He plays the part of a bungling teacher well, but Wo Ping never addresses the issue of why he was ever elevated to that position. As screen villains go, Hwang Jang Lee is second to none. Why then, is his final fight with Chan so short? Perhaps it had something to do with Chan getting one of his teeth knocked out by a kick from Hwang. You can actually see Chan’s missing tooth in the film! All of the fights are above average, but not spectacular. Chan would go on with his own hand-picked stunt team to produce faster and more furious fights and this may explain the difference. There is also little weapon use which is something Chan excelled at, but rarely featured. Yuen Wo Ping’s directing style definitely shows signs of coming into his own. There are lots of dynamic close-ups (see screen shots) and all of the choreography is well done.

Snake in the Eagle’s Shadow is a very solid kung fu title that shows Jackie emerging as the star he would become. Fine action, direction and a standout performance by Simon Yuen makes this a worthy title to own.