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Big Boss (The) AKA Fists of Fury AKA Tang shan da xiong AKA Fists of Glory (Blu-ray 4K)
[Blu-ray 4K]
Blu-ray ALL - United Kingdom - Arrow Films Review written by and copyright: Paul Lewis (30th July 2023). |
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The Film
  Bruce Lee at Golden Harvest
It’s worth prefacing this review of Arrow Video’s Bruce Lee at Golden Harvest boxset with the assertion that this set will clearly be a contender for home video release of the year. It’s simply stunning, containing presentations of the films that (future magical discovery of some of the still missing footage from The Big Boss notwithstanding) are almost inarguably definitive. Multiple cuts of each of the films are included, alongside some outstanding contextual material. It's impossible to discuss the films in this set without reflecting on the life and philosophy of Bruce Lee himself. Though Lee had acted in both Chinese and American films and television since his childhood in the 1940s, Lo Wei’s The Big Boss (1971) was the first feature film to feature Lee in a lead role. That picture set the martial artist and actor on the path to the creation of five films that increasingly expounded his philosophy of martial arts. It’s testament to the strength of Lee’s persona and worldview that this philosophy was present in his sole Hollywood starring role, in Robert Clouse’s Enter the Dragon (1973), and the compromised final release edit(s) of Game of Death (1978), the picture that Lee was working on at the time of his untimely death in 1973 (at the age of 32) and completed posthumously. The martial art that Lee founded, Jeet Kune Do, was based on Lee’s experiences during the 1960s, which led him to the realisation that traditional martial arts were too rigid to be effective in true combat situations. Lee therefore developed Jeet Kune Do as a “style without style”: in other words, a martial art that emphasised fluidity and responsiveness to a scenario rather than a rigid series of moves or techniques. Lee conscripted a number of Hollywood figures as students, and also contributed to the fight choreography of several Hollywood pictures (such as the Matt Helm joint The Wrecking Crew) before his breakthrough as a lead actor in The Big Boss. Following the cancellation of The Green Hornet, in which Lee memorably played Kato, Lee worked on a number of projects in the US but his frustration with the way in which Hollywood worked led Lee to seek employment in Hong Kong’s film industry. He approached Shaw Brothers, but declined the contract they offered him; however, producer Raymond Chow had recently left Shaw Brothers and started his own production company, Golden Harvest. Impressed by Lee, Chow signed Lee to a two-film contract with Golden Harvest. This contract encompassed The Big Boss and Fist of Fury, both directed by veteran filmmaker Lo Wei.  The Big Boss was filmed in Thailand, in order to keep production costs to a minimum. The film features Lee as Cheng Chao-an, who is sent to live in Thailand with his cousins, including the pretty Chow Mei (Maria Yi) and the upstanding Hsiu Chien (well-known martial arts actor James Tien, whose character was reputedly originally supposed to be the film’s protagonist until the producers became fascinated with Lee). There, Cheng gets a job working in an ice factory which is owned by the titular “big boss,” Hsiao Mi (Ying-Chieh Han), who along with his son Hsiao Chun (Tony Liu) runs a drugs empire. Unbeknownst to most of the workers at the ice factory, the manager (Chih Chen) hides bags of heroin in the blocks of ice so that they may be distributed covertly.
When some of his cousins disappear (they are murdered by the manager and his accomplices, and their bodies hidden in the ice), Cheng becomes suspicious. However, despite demonstrating some superb martial arts skills, Cheng remembers his promise to his mother that he will not engage in violence. Sensing that Cheng could cause trouble for his operation, the Big Boss tempts Cheng with a number of vices. The Big Boss gives Cheng alcohol and food, also tempting him with a prostitute (Marilyn Bautista), before promoting him to foreman at the factory. At first, Cheng is deceived. However, he sees through the Big Boss’ ploy; when Chow Mei is abducted by the Big Boss’ goons, Cheng puts aside his promise not to involve himself in violence, and sets on a path of revenge. By all accounts, The Big Boss’s narrative was heavily revised during production, with Lee offering some creative ideas and Lo Wei reworking the script as the film was shooting. Lee was allowed to choreograph the fight scenes, giving them a sense of real world gravitas that was often absent in contemporaneous Chinese martial arts movies. And they are spectacular. Lee’s orchestration of the fight scenes in his Hong Kong martial arts movies would become increasingly confident between this and the aborted Game of Death project, but nevertheless The Big Boss’s moments of action are splendiferous. The orchestration of action incorporates fists, feet, and a variety of objects and on-site tools. (Infamously, production stills document a moment in which Cheng dispatches one of the foreman’s goons with a handsaw to the head; the footage from this brief moment seems no longer to exist, sadly.) The film comes alive in the combat scenes, particularly those involving Lee, and this provides a strong sense of momentum particularly as the narrative builds towards its climax. There is some startling violence, including a haunting sequence shot with red lighting gels, in which Cheng finds several bodies entombed in blocks of ice at the factory. (This scene wouldn’t feel out of place in a Mario Bava movie.) The Big Boss establishes some of the key narrative paradigms of Lee’s Hong Kong films. Lee’s character, Cheng, is an innocent abroad: the film quickly establishes that he is unworldly, naïve in the ways of the world (and women, particularly) but preternaturally gifted in the martial arts. In an early scene, he engages in flirtatious eye contact with a pretty girl selling ice by the roadside, but demonstrates a childish coyness in his dealings with women. This type of behaviour by Lee’s characters would continue in the later films: for example, in Way of the Dragon after arriving in Rome from Hong Kong, Lee’s character (Tang Lung) is “accidentally” picked up by a glamorous Italian woman though quickly demonstrates he has no clue about human sexual interactions. This aspect of Cheng makes his “corruption” by the Big Boss all the more acute. Eager to get Cheng on his side, Hsiao Mi plies Cheng with alcohol and arranges for him to spend time with a sex worker. (Initially, Cheng does not realise the woman is a prostitute.) In the Mandarin language version of The Big Boss, long considered “lost” until its rediscovery by Arrow and inclusion (for the first time ever) in this 4k UHD set, Cheng returns to the brothel before his final fight with the Big Boss. Determined to seek revenge for the abduction of Chow Mei, and therefore shucking off his promise to his mother (that he would not engage in violence), Cheng also decides to “sow his wild oats” with the same sex worker before storming the Big Boss’ mansion and duking it out with the bad guys. Though initially intended as a period-set film, with its narrative taking place during the influx of Chinese workers to Siam in the early 20th Century, The Big Boss is riddled with anachronisms. The story seems to take place at some point in the 1910s, yet some characters wear clothing that speaks very much of the late-1960s/early-1970s. Arguably, this serves to reinforce the universal qualities of the story; the film’s production took place in the wake of the “Cultural Revolution,” when Chinese labourers were flooding into Thailand. Certainly, bubbling beneath the narrative are some ethnic conflicts amongst the workers at the factory which, it seems, are stoked by the Big Boss in a “divide and conquer” dynamic; and the film goes to great lengths to depict the poverty in which Lee’s cousins live.  Lee’s subsequent film for Golden Harvest, Fist of Fury (again directed by Lo Wei), is similar: the narrative is set in 1908, but there are cars from the 1930s present within the film. Fist of Fury opens with a title card that establishes the context for the film’s narrative: the immediate period after the death of Chinese hero Ho Yuan-Chi (or Huo Yuanjia), the founder of the Chin Woo Athletic Society in Shanghai. Ho was valourised for defeating various representatives of foreign cultures, including a Russian wrestler who mocked the Chinese by referring to the “sick man of Asia” trope. Ho died in 1910, with some people believing he was poisoned by a Japanese doctor because the Japanese had deemed Ho to be a threat to their interests.
In Fist of Fury, Bruce Lee plays Chen Zhen, a student of Ho, who returns to Shanghai having heard of the death of his sifu. Chen quickly becomes aware of the tensions between Ho’s school of martial arts, the Jingwu Martial Arts School, and a rival Japanese karate dojo headed by Hiroshi Suzuki (Riki Hashimoto). Chen vows revenge and wages a private war against the Japanese karate school, despite their power and also against the advice of other members of the Jingwu School, who wish not to rock the proverbial boat. Nevertheless, driven underground in order to battle his enemies, Chen has the support of his fiancée (Nora Miao). Fist of Fury’s narrative plays out very much like that of a town-tamer Western in which a talented gunslinger teaches the sodbusters how to fight. (The Western parallels are reinforced by Joseph Koo’s Ennio Morricone-style opening titles theme; elsewhere, it becomes readily apparent that the film’s score riffs on the main theme for the television show Ironside.) Chen is told by one of the other members of the Jingwu academy, Fan (James Tien), that “Our master taught us never to stir up trouble.” But Chen has principles, dammit, and thankfully he abides by them because under Suzuki’s leadership, the karate school becomes the centre of a despicable plot to eradicate Ho’s teachings – even if that means eliminating Ho’s students. Fist of Fury again features some stonking action. It is in this film that Lee employs (for the first time in one of his features) the weapon with which he is most associated: the nunchaku. The use of nunchaku in Fist of Fury (and all of Lee’s subsequent films) would be a sticking point for the BBFC back in the day, as depictions of nunchaku were routinely removed from films released in the UK up until the early 2000s. This rendered large portions of Lee’s movies – particularly the alleyway fight in Way of the Dragon – pretty confusing for British martial arts fans who encountered these films at cinemas or on videocassette. (This writer vividly recalls the excitement when these films were released for the first time with previous BBFC cuts waived, on DVD by Hong Kong Legends in the early ‘00s.) Lee’s contract with Golden Harvest was initially for two films. However, Lee formed his own production company and negotiated a new contract with the studio. This resulted in Way of the Dragon, which Lee wrote and directed – as well as starring in and choreographing the action.  Way of the Dragon opens with Lee, who plays fish-out-of-water Tang Lung, arriving at an airport in Rome. Tang has been sent to Rome in order to assist Chen Hing Lua (Nora Miao), whose restaurant – which she inherited after her father died – is being terrorised by hired thugs; these thugs work for a mafioso (Jon Benn) who wants to buy the land on which Chen’s restaurant sits.
Initially Chen is displeased with Tang’s presence: she was hoping her uncle would join her in Rome and help her negotiate with the gangsters, and she underestimates Chen’s abilities. However, Chen proves himself to be exceptionally adept at martial arts. Tang teaches some of the restaurant staff his “style without style,” demonstrating to them how adaptability is more important in street fighting scenarios than adherence to a rigid form. Chen’s endeavours render the mafiosi boss irate. He hires three karate experts – one from Japan, another from Europe, and the third from the US. The American karate expert, Colt (Chuck Norris, in his first big film role), faces off against Chen in a memorable fight at the Colosseum. As in The Big Boss and Fist of Fury, Way of the Dragon focuses on cultural tensions – here, between the immigrant Chinese workers in the restaurant owned by Chen, and the Italian mafiosi in Rome. (To compound these cultural tensions, the Italians draft in an American karate champion – Colt, played by future action star Chuck Norris – to battle Tang in the Colosseum.) Where Fist of Fury featured one cultural turncoat (Wu En [Paul Wei], who acts as Suzuki’s translator), Way of the Dragon ups the ante by including two cultural “traitors”: the outrageously camp Ho (Wei Ping-ou), who translates for the mafiosi, and a member of Chen’s restaurant staff (who betrays Chen to the Italian gangsters). Way of the Dragon opens with a near-wordless sequence which shows Tang in the airport, waiting for Chen to arrive. During this time, Tang receives a death stare from an elderly woman, struggles to break the language barrier with a waitress, and frightens a little boy. This series of comic scenarios are played out with barely any dialogue, and in all this sequence is reminiscent of Jacques Tati’s comedies – or perhaps the dialogue-less opening sequence of Sergio Leone’s Once Upon a Time in the West. (The latter seems a likely reference point in the crafting of this sequence, especially given that when Colt arrives on the scene, Way of the Dragon uses some of Ennio Morricone’s score for Leone’s picture.) Lee’s character in this film demonstrates the same awkwardness around women as Cheng in The Big Boss. He is encouraged by Chen to be friendly, and in doing so he lets himself be led to the apartment of an Italian woman (Malisa Longo), seemingly unaware that she wants sex; when she strips off in front of Tang, he runs away. The creative control Lee had over Way of the Dragon results in a film that expounds his philosophy of martial arts. “Styles don’t matter, as long as you unleash your body’s potential,” Tang tells the restaurant workers, teaching them to be more flexible in their approach to martial arts training. “Every martial arts style is useless if you don’t practice,” Tang asserts. Tang demonstrates his skills at every opportunity, and the film features some superb action choreography that builds on the strengths of its predecessors: here, Tang uses his feet and fists, alongside various martial arts weaponry – such as nunchaku, the long staff, and darts that Tang fashions in order to disarm the gun-wielding mafiosi. The whole thing builds to a marvelously staged martial arts duel between Bruce Lee and Chuck Norris, set within the Colosseum.  Lee’s martial arts philosophy would be pushed even more to the foreground in Game of Death. Lee’s concept for this film revolved around Lee, playing a martial artist named Hai Tien, being forced into playing a “game of death” when his siblings are abducted. Hai was to fight his way to the top of a mysterious pagoda, fighting a martial artist from a different background on each level.
Lee filmed three of these fights: one with Dan Inosanto, who battles Lee with eskrima and nunchaku; another with Korean hapkido practitioner Ji Han-jae; and a third with Lee’s own student in Jeet Kune Do, the basketball player Kareem Abdul-Jabbar. Each battle would expose the flaws in a form of rigid martial arts, resulting in the more freeform approach of Lee becoming dominant. However, filming of Game of Death was interrupted when Lee was offered Enter the Dragon for Warner Brothers. Lee filmed Enter the Dragon but sadly died shortly before its release, leaving Game of Death incomplete. Eventually, Enter the Dragon’s American director, Robert Clouse, was hired by Golden Harvest to complete Game of Death; this new version of Game of Death was released in 1978. A framing story for the footage filmed by Lee was constructed, which involved two actors (Kim Tai-jong and Albert Sham) “doubling” as Bruce Lee and playing a character named Billy Lo. Billy, an actor in martial arts movies, has the screws put on him by the syndicate, which is headed by Dr Land (Dean Jagger). Land and his underboss Steiner (Hugh O’Brian) threaten Billy’s life, and that of his girlfriend, singer Anne (Colleen Camp). Billy enlists the help of his friend, journalist Jim (Gig Young) to fake his own death so that he may go underground and combat the syndicate. Game of Death is a fun film, with a great opening score by John Barry (and opening titles, at least in the English export version, that flirt with the aesthetic of Maurice Binder’s main titles for the James Bond films). Billy’s status as an actor in martial arts movies enables the filmmakers to insert copious footage from Bruce Lee’s previous films. (Clouse’s Game of Death actually opens with the climactic fight between Bruce Lee and Chuck Norris from Way of the Dragon, before cutting to “behind the scenes.”) On the other hand, when Billy fakes his death and footage of Lee’s real funeral (with shots of Lee in his coffin) is used, this leaves a bad taste in the mouth. Game of Death is a strange film, then. There’s much to enjoy, including some superb action choreographed by Sammo Hung – one one gets over the contrast between the fluidity and “real world” feeling of Lee’s choreography in the climax with the more traditional fighting of the rest of the movie. (Yuen Baio also “doubles” as Lo in some of the film’s action scenes.) The film’s use of crash helmet-wearing motorcycle goons may very well have been an influence on John Woo; certainly, the yellow jumpsuit Lee wears in the climactic scenes has become inarguably iconic. The film builds towards the final confrontation between Billy and the heads of the syndicate, which leads Billy to assaulting the Red Pepper Restaurant which functions as Dr Land’s base of operations. This is when the footage Lee shot for his Game of Death project is used. Arrow’s set also includes Ng See-yuen’s 1981 “sequel” to Game of Death. Released as Game of Death II and Tower of Death, this film has next to nothing in common with Lee/Clouse’s Game of Death but incorporates stock footage of Bruce Lee into its narrative. It’s an entertaining film in its own right, however; though the action choreography is much more staid and traditional, with little similarity to Bruce Lee’s fight choreography.
Video
 All of the four Bruce Lee-Golden Harvest films (that, is the main presentations on the 4k UHD discs; the alternate cuts of Game of Death are another issue) are presented in 2160p, using the HEVC codec. The various edits of Game of Death II are all presented in 1080p using the AVC codec.
All of Bruce Lee’s films for Golden Harvest were filmed on 35mm colour stock and in anamorphic widescreen. The main presentations of The Big Boss, Fist of Fury are based on new restorations conducted by Arrow, from the films’ respective camera negatives. Way of the Dragon and Game of Death’s presentations are based on new restorations by Arrow from “original film elements.” All of the films’ previous BBFC cuts have been waived for a number of years now. The presentations of The Big Boss (100:17) and Fist of Fury (106:32) are excellent, with superb levels of fine detail present throughout and a natural sheen of 35mm film grain. Contrast levels are very pleasing, with a strong sense of depth in the midtones and subtle tapering into the toe and the shoulder, where shadows and highlights are balanced. The extra level of cloud detail in the highlights in the sky (for example) is particularly noticeable when these presentations are compared with any of the previous Blu-ray releases. Black levels are deep and rich, and colours are consistent. Way of the Dragon (99:23) and Game of Death (101:07) look very good too. Again, there is a pleasing level of fine detail throughout both presentations. There are some shots in Way of the Dragon that are slightly out of focus, but this seems to have been an error on the part of the film’s focus puller rather than an issue with this presentation. Colours are consistent, and contrast levels are very good, but again in both Way of the Dragon and Game of Death there are sharper curves in the contrast, particularly into the toe, than in Arrow’s presentations of The Big Boss and Fist of Fury. Game of Death has always been a patchwork assembly of different footage, with the footage Lee shot for his aborted project having a noticeably different aesthetic to the footage shot by Clouse in 1978, and this new 4k presentation of the film amplifies this. Game of Death II is presented on its disc in 1080p using the AVC codec, and in 2.35:1 (as per the original cinema releases). There are some suggestions online that the framing of this film is a little too tight. The presentation of the “international cut” (95:29) is based on new 2k restoration of that film which is taken from “original film elements.” Titled Tower of Death, the Hong Kong cut (86:38) is also based on the same restoration, but with standard definition material spliced into it for the scenes that are exclusive to the HK version of the film. The Korean version (72:15) is also based on the same restoration, again with footage exclusive to this cut patched in from alternate sources. Sadly, it appears that this Korean cut of the film is also missing some footage, with about 4 minutes missing in comparison with the film’s Korean VHS release. The disc also includes an alternate US VHS edit (94:47), and this has been completely rebuilt in HD using the main presentation as its source. The alternate cuts of each film are a major draw of this release. On Disc One, we have the main presentation of The Big Boss (100:17) and two additional edits of the film: the English Export Cut (100:27) and the US Theatrical Cut (99:53). Both of these are new assemblies of these versions of the film, using the main 4k presentation as their base and inserting footage from other sources. The English export cut, which utilises a different English dub to the main presentation, contains a few scenes that feature Mandarin dialogue (with English subtitles): these are scenes for which passages of the alternate English dub (ie, the audio track for this release) have been lost. There are also some scenes that feature burnt-in subtitles: these indicate footage that has been patched into the main presentation from 35mm prints. Owing to its rarity, the alternate English dub on this presentation is in rough shape, with some audio anomalies that include “dropouts.” The US Theatrical Cut (99:53) of The Big Boss is another new assembly, this time of the version of the film released in the US in 1973, under the title “Fists of Fury.” As with the English export cut, this assembly features some scenes with burnt-in subtitles. This edit of the film is presented with both its original audio track (featuring the Peter Thomas score) and the Japanese mix (employing the alternate Joseph Koo music cues). On Disc Two, we have one of this set’s biggest exclusives: the long-considered “lost” Mandarin Cut (110:55) of The Big Boss. This is not completely intact, as there are some scenes that are still “missing” (for example, the handsaw-to-the-head featured in some still photographs). There are two presentations of the Mandarin cut: the first is based on the 4k restoration, with scenes exclusive to the Mandarin cut (taken from a 35mm print with burnt-in subtitles) spliced into it; and an “Unrestored” version of the Mandarin cut (ie, a raw scan of the newly-discovered 35mm print of this version of the movie) which runs for 109:12. The Mandarin cut contains some fascinating unique material. Much of this consists of short extensions of scenes already in the more familiar cut of The Big Boss. However, some of the exclusive footage in the Mandarin cut includes: - Extra footage of the fight between the street thugs who hassle the girl selling ice and Hsiu near the start of the film; - Cheng’s cousins playing a board game before Hsiu and Chen arrive at the lodging house; - Hsiu and Cheng discussing martial arts on their way home, before they are attacked. This sequence continues with Hsiu being slightly boastful when he and Cheng return to the lodging house, and Hsiu tells the others about saving Mr and Mrs Mu outside the gambling den; - Cheng sees the female ice seller again, after his uncle leaves to return to Hong Kong; - The manager at the ice factory discarding the body parts (including a severed head, wrapped in cloth) of the two murdered workers; - Hsiu talking about another missing worker, named Wang, to the manager at the ice factory; - An extended scene featuring the Big Boss’ goons practising their martial arts; - More gore during Hsiu’s fight with the Big Boss’ henchmen; - A significant extension to the scene in which Cheng sits by the riverbank and decides to avenge the deaths of his friends, including flashbacks to their corpses and Cheng declaring “I shall avenge them!”; - One of this cut’s major additions is a scene in which Cheng, on his way to the final battle with the Big Boss, stops off at the brothel and picks a girl for sex. Leaving afterwards, he picks up the bag of rice crackers that he is seen with when he approaches the Big Boss’ estate just before the climax; - Additional violence in the final battle between Cheng and the Big Boss. Disc Three, containing Fist of Fury (106:32), contains the main presentation of that film but also the English Export Cut (106:17). This cut runs for the same length as the main presentation but has its own unique anomalies in terms of structure. For example, the opening title outlining the historical context for the story is here replaced with simple voiceover narration. On Disc Four, we are offered three presentations of Way of the Dragon. The main presentation runs 99:23, but we may also choose to view Way of the Dragon with English closing credits (99:47). Additionally, this disc includes an Alternate Japanese Version (100:17). This Japanese version of Way of the Dragon differs from the main presentation inasmuch as it contains a different English language dialogue track, and features different opening and closing titles sequences (along with a different music track, featuring Mike Remedios singing “The Way of Life”). Disc Five contains Game of Death. The main presentation of this runs for 101:07; the disc also includes an Alternate Japanese Version (99:55). The Japanese version of Game of Death is very similar to the main presentation, but features the fight between Lee and Ji Han-jae edited slightly differently. Some of the exclusive footage here includes burnt-in English subtitles for the Cantonese dialogue spoken by Han-jae. The audio track has some alterations too: Lee’s catcalls are somewhat different. On Disc Six, we have yet more alternate cuts of Game of Death. These include the Chinese Version (89:36), which features an alternate titles sequence (incorporating a Chinese-language song rather than John Barry’s main theme), and incorporates some of the “deleted scenes” that are presented in the extra features on Disc Five, including the greenhouse fight between Billy Lo and the martial artist played by Casanova Wong. This cut completely omits the fight between Bruce Lee and Ji Han-jae, and ends with one of the alternate endings (in which the police arrive outside the Red Pepper restaurant and Billy is shown escaping). Also on this disc is an Alternate Cantonese Version (92:23). This is claimed to be the version of Game of Death released to cinemas in Hong Kong, and presents the Ji Han-jae fight earlier in the film than in the international version; this cut ends with Bill fleeing Macau on a ferry. Some material is patched in from lesser quality sources. We also have the option of watching the Alternate Mandarin Version. This is the cut of Game of Death released in Taiwan. Again, it features a different opening titles sequence, and the Dan Inosanto-Bruce Lee fight is edited differently. The Ji Han-jae fight scene is included but closer to its placement in the international version than the other Chinese cuts of the picture. It also features the same “ferry” ending as the Cantonese version. Some material is patched in from lesser quality sources. Disc Eight houses Game of Death II and its variant versions. These include the Hong Kong Version (86:38). Titled Tower of Death, this Hong Kong version of the film was the one released on DVD by Hong Kong Legends in the early 2000s. The International Version (95:29), titled Game of Death II, is the longest cut of Game of Death II, and incorporates some additional stock footage, including the greenhouse fight that Sammo Hung originally directed for the Chinese versions of the original Game of Death. Also on the disc is the Alternate Korean Version (72:15). Titled “The Tower of Death,” this is the cut of the film that was released in South Korea in 1980. It is vastly different to the other edits of the film, removing nearly all of the footage of Bruce Lee. However, according to some sources this version appears to be missing some footage that should be present. And finally, we have theAlternate US VHS Version (94:47). In the US, Game of Death II was reworked to remove the footage from Enter the Dragon, replacing this with material from other Bruce Lee films. Arrow have “rebuilt” this edit using HD materials.
Audio
Audio options are as follows. The Big Boss is presented with Mandarin, English, English (Japanese mix), and Cantonese audio tracks. All of the audio options are presented via lossless DTS-HD Master Audio 1.0 tracks. Two sets of optional English subtitles are provided: the first set of subtitles is provided to support the Chinese-language tracks (both tracks have the same subtitles); the second set of subtitles offer a transcription of the film’s English language dub track. The Mandarin track features the original Wang Fu-Ling score. The two English tracks differ in terms of music cues. The first English language track includes the alternate score composed by Peter Thomas; the second English track (the Japanese mix) utilises Joseph Koo’s alternate music for the film. The Cantonese track contains the score that was arranged for the film’s 1980 Cantonese dub track. The English Export Cut and US Theatrical Cut of The Big Boss are both presented with optional English subtitles for the Hard of Hearing, and with English language DTS-HD Master Audio 1.0 tracks. The audio tracks for the English export cut features some scenes in Mandarin dialogue (with English subtitles); these are scenes for which the alternate English dub is missing, presumed “lost.” There are some audio anomalies in this track, including dropouts, owing to the condition of this rare alternate track. The US Theatrical Cut also includes the option of viewing the film with the alternate Japanese mix (again with English language dialogue), which employs Joseph Koo’s music. (The main audio track for this cut features Peter Thomas’ score.) On Disc Two, the Mandarin Cut of The Big Boss is presented with the Mandarin-language audio track, in lossless DTS-HD Master Audio 1.0, with optional English subtitles. On Disc Three, Fist of Fury is presented with the option of Mandarin, English, and Cantonese DTS-HD Master Audio 1.0 tracks. As with The Big Boss, this disc includes the option of viewing the film with either English subtitles which translate the Chinese dialogue, or optional English subtitles that transcribe the English dub. On the same disc, the alternate English export cut of Fist of Fury is presented with a DTS-HD Master Audio 2.0 track, and optional English subtitles for the Hard of Hearing. On Disc Four, Way of the Dragon is presented with the option of DTS-HD Master Audio 1.0 tracks in Mandarin, English, and Cantonese. Again, there are English subtitles which translate the Chinese dialogue, or optional English subtitles for the Hard of Hearing. It’s worth bearing in mind that the Chinese language tracks feature some brief portions of the film in which English is spoken, and if the first subtitle track is selected these segments are presented sans subtitles. The same disc also includes an alternate Japanese cut of Way of the Dragon, which features a different English DTS-HD Master Audio 1.0 track to the main presentation, and accompanying optional English subtitles for the Hard of Hearing. Disc Five contains Game of Death, which is accompanied by a DTS-HD Master Audio 1.0 track in English, with optional English subtitles for the Hard of Hearing. The same disc also includes the alternate Japanese version of Game of Death, which is presented with a DTS-HD Master Audio 1.0 track (in English), with optional English subtitles for the Hard of Hearing. This presentation of the film is structurally different to the main presentation of Game of Death, inasmuch as the fight between Lee and Ji Han-jae is edited differently; but it is also different in terms of the audio track. For a brief moment, Han-jae speaks in Cantonese, with burnt-in English subtitles; and Lee’s catcalls are noticeably different in this version too. Disc Six features the Chinese version of Game of Death, with accompanying Cantonese or Mandarin audio tracks in DTS-HD Master Audio 1.0, and English subtitles which translate the Chinese dialogue. The Alternate Cantonese Version on this disc presents the film in Cantonese DTS-HD Master Audio 1.0, with forced English subtitles. The Alternate Mandarin Version also features forced English subtitles, which accompany a Mandarin DTS-HD Master Audio 1.0 track. Disc Eight features multiple cuts of Game of Death II (aka Tower of Death). The International Version is accompanied by two audio options: an English DTS-HD Master Audio 1.0 track, representing the original English dub; and an alternate “Japanese mix” (also English DTS-HD Master Audio 1.0), which incorporates some different music cues, including a vastly different main theme (a rock tune). Optional English subtitles for the Hard of Hearing are included. The Hong Kong Version features a Cantonese DTS-HD Master Audio 1.0 track, with forced English subtitles. The Korean Version features a Korean DTS-HD Master Audio 1.0 track with optional English subtitles. The US VHS Version features an English DTS-HD Master Audio 1.0 track which conforms to the first English track included with the presentation of the international cut (ie, with the orchestral main theme rather than the rock song).
Extras
The disc contents are as follows. DISC ONE (4k UHD): - The Big Boss (1983 Golden Harvest Version) (100:17). - The Big Boss: English Export Cut (100:27). This is a new assembly of the English export cut, with a different English dub to the main presentation. There are a few scenes that feature Mandarin dialogue (with English subtitles); these are scenes for which the alternate English dub is missing, presumed “lost.” Other scenes feature burnt-in subtitles, owing to the film elements used to assemble this different edit of the film. There are some audio anomalies, including dropouts, owing to the condition of this rare alternate track. - The Big Boss: US Theatrical Cut (99:53). This is another new assembly, this time of the version of the film released in the US in 1973, under the title “Fists of Fury.” As with the English export cut, this assembly features some scenes with burnt-in subtitles. This edit of the film is presented with both its original audio track (featuring the Peter Thomas score) and the Japanese mix (employing the alternate Joseph Koo music cues). - Audio commentary by David Desser. This is a newly-recorded commentary by David Desser, lecturer in cinema studies at the University of Illinois. Desser explores Bruce Lee’s work and particularly The Big Boss’ relationship with Asian cinema more generally, and Hong Kong filmmaking more specifically. He considers Golden Harvest and its role in Hong Kong’s film industry, exploring its relationships with the output of other production studios such as Shaw Brothers. - Audio commentary by Brandon Bentley. Bruce Lee enthusiast Brandon Bentley focuses on The Big Boss’ position within Bruce Lee’s filmography, exploring how Lee came to be involved with the film, and the impact of the picture on martial arts cinema more broadly. - “Return to Thailand” (41:58). Here, in a new featurette, Matt Routledge examines the locations used in the film. Routledge visits Pak Chong and Bangkok, examining locations such as the hotel in which Lee stayed whilst making the picture; the river where Lee’s character experiences some pensive moments; the ice factory location, which is amazingly still in operation; and the titular Big Boss’ residence. The featurette is enlivened by some interviews, comments from Bruce Lee’s journal, and some archival still photographs of Lee and the production. Routledge discusses the locations and their use in the film, and also talks about the production of the movie. - Deleted and Extended Scenes, with Optional Commentary by Brandon Bentley (18:13). These are scenes that from the Mandarin language version which were for many years considered lost (and integrated into the Mandarin cut of the film that is included on Disc Two). They have been scanned from the last surviving 35mm print of that cut of the movie. In his optional commentary, Bentley talks about his excitement at this footage finally being unearthed. (Many of us fellow Bruce Lee fans share your very apparent excitement at this, Mr Bentley.) We see the alternate opening credits, and Bruce Lee’s slightly longer introduction; the longer fight with Xu near the start of the picture, which Bentley suggests makes Xu seem more like an aggressor; some footage of the other mainlanders who work at the factory; footage of bodies being chopped up with a mechanical saw at the ice factory; and other material. (Some more information about the “new” scenes in the Mandarin cut is included in the Video section of this review.) - “The Not-Quite-Biggest-Boss” (8:25). Brandon Bentley narrates a video essay which examines some of the scenes that, sadly, are still considered “lost,” even after Arrow’s discovery of the 35mm print of the Mandarin version. These include scenes which are documented by still photographs, including the notorious shot of a handsaw buried in a character’s head at the ice factory. - Archive Interviews with Lau Wing (44:41) and Tung Wai (2:45). These interviews have been included on previous home video releases. Lau Wing’s interview encompasses his career, and working with Bruce Lee on The Big Boss. (Lau Wing is the Cantonese stage name of Tony Liu.) Tung Wai discusses meeting and working with Bruce Lee. They are presented with English subtitles. - “Bruce Lee Vs. Peter Thomas” (2:27). Produced in 2013, this video essay is narrated by Brandon Bentley and examines the score that Peter Thomas wrote for the film. (This was the score used in the English-dubbed export version.) - Alternate Credits Sequences: Japanese Release Credits (1974) (1:41); US Theatrical Re-Release (1978) (1:33); Alternate English Credits (1:45). - Trailer Gallery: HK Theatrical Trailer (Mandarin) (3:48); HK Theatrical Trailer (English) (2:50); UK Theatrical Trailer (1:47); UK Super 8 Trailer (4:08); US Theatrical Trailer (1:35); US TV Spot (1:16); HK Re-Release Trailer (Cantonese) (2:25); Before The Big Boss (5:59); The Big Boss Part II (3:40). Most of these are self-explanatory. Before The Big Boss is a collection of trailers for projects Bruce Lee made before filming The Big Boss, such as The Green Hornet and Marlowe. The Big Boss Part II is the trailer for the Lo Lieh-starring sequel to The Big Boss; this film is considered “lost,” though a 35mm print of it is rumoured to be in the hands of a South African collector. (There’s some prominent use of the James Bond theme in this trailer, which is worth mentioning.) - Image Galleries: Publicity Stills and Lobby Cards (168 images); Behind the Scenes (41 images); Posters and Video Art (23 images). DISC TWO (4k UHD): - The Big Boss: The Mandarin Cut (110:55). - “Axis of English: The Hong Kong Dubs” (29:18). This is a new video essay by Will Offutt, who discusses the various voice actors that dubbed the original export versions of Bruce Lee’s Golden Harvest films into English. - “The Mandarin Cut: Unrestored” (109:12). This is, as the title suggests, a raw scan of the “unrestored” 35mm print of the Mandarin cut of the movie. (The main presentation on this disc integrates the unique footage from the Mandarin cut into restoration that is presented in Disc One.) DISC THREE (4k UHD): - Fist of Fury (106:32) - Commentary by Jonathan Clements. Clements offers an enthusiastic new commentary track for Fist of Fury which examines the film’s relationship with the historical events that influenced it, and explores Fist of Fury’s position within Hong Kong cinema. - Commentary by Brandon Bentley. Bentley provides another new commentary track, this time focusing on Fist of Fury, the origins of the project, its representation of the culture of the era in which it is set, and its role within Bruce Lee’s body of work. - Fist of Fury: English Export Cut (106:17). This cut runs for the same length as the main presentation but has its own unique anomalies in terms of structure. For example, the opening title outlining the historical context for the story is here replaced with simple voiceover narration. - “Legend of the Dragon with Tony Rayns” (81:46). Here, Rayns presents an overview of Bruce Lee’s career, beginning with his acting work as a child, and examining the lasting legacy of Lee’s impact on cinema following his untimely death. The interview is illustrated with ample clips from various films, some of them quite rare and difficult to see, along with some still photographs. - “Visions of Fury” (35:20). This featurette looks at Bruce Lee’s collaborations with director Lo Wei (who handled both The Big Boss and Fist of Fury) and cinematographer Chris Chen. Golden Harvest producer Andre Morgan is interviewed, alongside separate interviews with Michael Worth, Frank Djeng, John Kreng, Andy Cheng, and Bruce Willow. - “New Fist, Part Two Fist” (7:33). Brandon Bentley narrates a video essay which examines the two films presented as sequels to Fist of Fury: Lo Wei’s New Fist of Fury and Jimmy Shaw Feng & Lee Tso-Nam’s Fist of Fury Part II, both produced in 1976. - Archive Interviews: Nora Miao (16:57); Riki Hasimoto (11:45); Jun Katsumura (12:13); Yuen Wah (9:50). These are interviews that have previously appeared on the old Hong Kong Legends and/or Twentieth Century Fox DVD releases of this film. - US Opening Credits (2:32). - Trailer Gallery: HK Theatrical Trailer (Mandarin) (4:21); HK Theatrical Trailer (Cantonese) (4:21); HK Theatrical Trailer (English) (4:20); US Theatrical Trailer (1:51); US TV Spot (0:32); UK Radio Spot (0:33); Chen Zhen Trailer Reel (16:46). The last of these is a compilation of trailers for films based on the story of Chen Zhen, including New Fist of Fury. - Image Galleries: Publicity Stills and Lobby Cards (129 images); Behind the Scenes (20 images); Posters and Video Art (19 images). DISC FOUR (4k UHD): - Way of the Dragon (99:23) or Way of the Dragon (play with English closing credits) (99:47) - Way of the Dragon: Alternate Japanese Version (100:17). This Japanese version of Way of the Dragon differs from the main presentation inasmuch as it contains a different English language dialogue track, and features different opening and closing titles sequences (along with a different music track, featuring Mike Remedios singing “The Way of Life”). - Commentary by Frank Djeng & Michael Worth. Chinese film expert Frank Djeng and actor-martial artist Michael Worth provide a warm and lively commentary track that explores Bruce Lee’s directorial debut and how it impacted on the landscape of both Chinese cinema and martial arts filmmaking. - Commentary by Brandon Bentley. In another new commentary track, Bentley explores the production and distribution of Way of the Dragon, examining its position within Bruce Lee’s career. - “Bruce Lee & The Way of the Camera: Tadashi Nishimoto” (51:32). This new documentary features interviews with Golden Harvest producer Andre Morgan, film historian C Courtney Joyner, actors Piet Schweer, John Saxon, and Jon Benn, and martial artists Michael Worth, Jon Kreng, Andy Cheng, Frank Djeng, David Yeung, and Peter Cunningham. Focusing on Bruce Lee’s relationship as director and star with Way of the Dragon’s cinematographer, Tadashi Nishimoto, the interviewees discuss Lee’s approach to making martial arts films, and how Lee changed the martial arts cinema landscape. - “Meet the Italian Beauty” (26:18). Malisa Longo, who plays the Italian woman who flirts with Lee on his arrival in Rome (billed as “Italian Beauty” in the film’s credits), discusses her small part in Way of the Dragon. This interview is in Italian with optional English subtitles. - “The Scottish Soldier Meets the Dragon” (18:30). John Young, a former soldier with the Black Watch, reflects on the day he spent on the set of Way of the Dragon. He talks about meeting Bruce Lee and observing Lee directing the film. - Scene Commentary with Piet Schweer (18:28). An audio interview with German actor Piet Schweer is presented over Schweer’s scenes from Way of the Dragon, in which Schweer played one of the Italian hoodlums that Ho sends to trash the restaurant. Schweer talks about the film’s sets and working with Bruce Lee and the other actors. - Archive Interviews: Introduction by Robert Lee (1:01); Jon Benn (21:42); Hwang In-sik (15:23); Bob Wall (33:35); Chaplin Chang (25:26); Louis Sit (11:08). These are interviews that have previously appeared on the old Hong Kong Legends and/or Twentieth Century Fox DVD releases of this film. - Alternate Credits Sequences: Textless Opening Credits (1:55); English Export Credits (1972) (1:58); US Theatrical Release (1974) (2:18); US Theatrical Re-Release (1980) (2:12). - Trailer Gallery: HK Theatrical Trailer (Mandarin) (4:09); HK Re-Release Trailer (English) (4:26); US Theatrical Trailer (2:12); US TV Spots (1:37); UK Theatrical Teaser (0:41); UK Theatrical Trailer (2:41); UK TV Spot (0:09); UK Radio Spot (0:32); Bruceploitation Trailers (11:46). The last of these is a compilation of trailers for “Bruceploitation” films such as The Dragon Lives, The Black Dragon’s Revenge, and Call Me Dragon. - Image Galleries: Publicity Stills & Lobby Cards (225 images); Behind the Scenes (21 images); Posters & Video Art (15 images). DISC FIVE (4k UHD) - Game of Death (101:07) - Commentary by Brandon Bentley & Mike Leeder. In a conversational track, Bentley and Hong Kong-based actor Mike Leeder explore the troubled production of Game of Death, its origins in Bruce Lee’s never-completed original project, and how Golden Harvest incorporated this footage into the project that became Game of Death as it was released (in various edits) in 1978. - Game of Death: Alternate Japanese Version (99:55). The Japanese version of Game of Death is presented here. It’s very similar to the main presentation, but features the fight between Lee and Ji Han-jae edited slightly differently. Some of the exclusive footage here includes burnt-in English subtitles for the Cantonese dialogue spoken by Han-jae. The audio track has some alterations too: Lee’s catcalls are somewhat different. Some fans consider this Japanese version to be preferable to the international release version of Game of Death; I’m one of them. - Alternate Ji Han-jae Fight (2:20). This is the edit of the fight between Lee and Ji Han-jae that appears in the Japanese version of the film, presented in isolation here. - Singing the Song of Tomorrow: Interview with Colleen Camp (12:54). In a new interview, Camp speaks about her work on Game of Death. She discusses how she came to work on the film after shooting her scenes for Apocalypse Now. Camp reveals that she turned down John Landis’ Animal House in order to work on Game of Death, and she talks about shooting some of her scenes for the picture – including her reaction to Billy Lo’s “funeral.” - Deleted and Alternate Scenes: Alternate Opening Credits (Cantonese) (2:16); Alternate Opening Credits (Mandarin) (2:16); Greenhouse Fight (4:46); Death Threat (0:22); Alternate Fight with Ji Han-jae (Cantonese) (3:15); Return to the Boat (0:32); Alternate Fights with Dan Inosanto and Ji Han-jae (Mandarin) (4:32); Alternate Cantonese Ending (1:38); Alternate Mandarin Ending (1:37). This footage is from a variety of different sources, and represents the unique footage from the various edits of the film released in Asian markets. The alternate credits are self-explanatory. The “Greenhouse Fight” is a scene in which Billy Lo fights another martial artist (Casanova Wong) in a greenhouse. It ends with Lo warning off the other martial artist, telling him to “nourish his brain” and to advise the syndicate to leave Lo alone. (This “greenhouse fight” scene was included in some versions of Game of Death II.) “Death Threat” is a short scene in which Jim receives a threatening call from the syndicate. “Alternate Ji Han-jae Fight” is another version of the fight between Lo and Ji Han-jae, which in some cuts of the film was placed significantly earlier in the film’s narrative. The presentation of this scene here shows how this scene was framed in those edits of Game of Death. “Return to the Boat” sees Lo waking up the captain of the boat he commandeered to take him to Macau. “Alternate Fights with Dan Inosanto and Ji Han-jae” are differently-edited versions of these fights, used in a Mandarin language presentation of Game of Death. - Archive Interviews: “First Among Equals with Dan Inosanto” (36:47); “Game of Death Revisited with Bob Wall” (28:48). The interview with Wall was filmed in 2013 for Shout! Factory; the interview with Inosanto was shot in 2006. - Behind the Scenes Footage (4:10). This material is taken from the 1984 documentary Bruce Lee: The Legend. It offers a glimpse into the production of Game of Death via footage shot during the production and editin1g of the film. We see Sammo Hung directing some of the action for the picture, and Robert Clouse talking about the differences between Game of Death and Enter the Dragon, which he also directed. - Pre-Production Sales Featurette (6:52). This is a 1976 featurette assembled by Golden Harvest in order to pitch the project to overseas distributors, prior to the Game of Death project being revived. The audio for this footage is missing, and Arrow have presented it here with an audio interview with Golden Harvest’s Andre Morgan that explains the function of this material. - Fight Scene Dailies (1:27). This is silent dailies from one of the film’s Sammo Hung-directed fight scenes. - Locations Then and Now (7:28). In this footage, filmed by Mike Leeder for Shout! Factory, we are shown the film’s locations using clips from the film set against footage of the same locations today. - Trailer Gallery: HK Theatrical Trailer (3:31); International Trailer (2:22); US Theatrical Trailer (2:18); US TV Spot (0:25); UK Radio Spot (0:30); Bruceploitation Trailers (14:44); Robert Clouse at Golden Harvest (10:17). The “Bruceploitation” trailers on this disc include trailers for pictures such as The Game of Death; Goodbye, Bruce Lee: His Last Game of Death; and The King of Kung Fu. - Image Galleries: Publicity Stills and Lobby Cards (69 images); Behind the Scenes (15 images); Posters and Video Art (17 images). DISC SIX (Blu-ray) - Game of Death: Chinese Version (89:36). This version of the film features an alternate titles sequence (incorporating a Chinese-language song rather than John Barry’s main theme), and incorporates some of the “deleted scenes” that are presented in the extra features on Disc Five, including the greenhouse fight between Billy Lo and the martial artist played by Casanova Wong. It completely omits the fight between Bruce Lee and Ji Han-jae, and ends with one of the alternate endings (in which the police arrive outside the Red Pepper restaurant and Billy is shown escaping). - Interview with Casanova Wong (17:04). This 2001 interview with Wong talks about his involvement in Game of Death. Wong featured in the Sammo Hung-directed greenhouse fight scene only included in cuts of Game of Death released in some Asian markets. Optional English subtitles. - Game of Death: Alternate Cantonese Version (92:23). This is claimed to be the version of Game of Death released to cinemas in Hong Kong. The Ji Han-jae fight is presented earlier in the film than in the international version, and the film ends with Bill fleeing Macau on a ferry. Some material is patched in from lesser quality sources. - Game of Death: Alternate Mandarin Version. This is the cut of Game of Death released in Taiwan. Again, it features a different opening titles sequence, and the Dan Inosanto-Bruce Lee fight is edited differently. The Ji Han-jae fight scene is included but closer to its placement in the international version than the other Chinese cuts of the picture. It also features the same “ferry” ending as the Cantonese version. Some material is patched in from lesser quality sources. - “The Hong Kong Connection” (18:30). Some of Lee’s friends, colleagues and admirers, such as Sammo Hung and Jacky Cheung, talk about Lee and his legacy in a featurette from 2003. - “Bruce Lee Remembered” (7:34). In another archival featurette, various figures from the Hong Kong filmmaking scene (such as Sammo Hung, Wong Jing, Clarence Fok, and Simon Yam) reflect on Lee’s importance within Hong Kong cinema. - “Legacy of the Dragon” (48:50). This documentary from 2001 looks at Bruce Lee’s life. Interviewed in it are Sammo Hung, George Lazenby, Andre Morgan, and others. - “Dragon Rising” (8:26). Here, we see a 1965 screen test featuring Lee, not long after the birth of his son Brandon Lee. - “The Grandmaster and the Dragon” (54:42). Recorded in 2009, this features William Cheung, who grew up with Bruce Lee in Hong Kong, discussing his memories of Lee. - Archive Interviews: Robert Lee (19:25); Phoebe Lee (11:36); Pat Johnson (28:22); George Lee (16:16); Gene Lebell (13:53); Van Williams (33:55); Joe Torrenueva (7:47); Linda Palmer (10:53); Fred Weintraub (15:54); Tom Kuhn (11:19); Paul Heller (16:28); Jeff Imada (21:13); James Lew (17:25). These interviews have all appeared on previous home video release of Bruce Lee’s films. They feature a wealth of anecdotes about both Lee and the legacy of his films. DISC SEVEN (Blu-ray): - The Final Game of Death with “Play All” (223:43) option. This is a new documentary about Bruce Lee’s Game of Death, which includes a brand new fifty-minute reconstruction of the film from the footage that Lee shot before his death. (This is contained in Chapter Eight: “Life After Death.”) The documentary is broken down into eight “chapters” which may be viewed individually. Covering Lee’s death and legacy, the documentary examines the origins and production of Game of Death, exploring Lee’s intentions for the picture. Illustrated with behind the scenes footage from the film and still photographs, it’s a truly excellent feature for fans of Lee who are intrigued by the enigmas that surround Game of Death. - “Chapter One: The Rules of the Game” (15:27) - “Chapter Two: The Hall of the Unknown” (41:50) - “Chapter Three: The Hall of the Tiger” (41:08) - “Chapter Four: The Hall of the Dragon” (35:25) - “Chapter Five: End Game” (4:37) - “Chapter Six: The New Territories” (10:27) - “Chapter Seven: Game Over” (18:18) - “Chapter Eight: Life After Death” (50:08) - “End Credits” (5:49) - “Game of Death Revisited” (39:10). This is the assembly of the Game of Death footage with which Bruce Lee fans will be more familiar: it was put together for Bruce Lee in G.O.D. in 2000. - “Super 8 Nunchaku Demonstration” (9:31). In footage filmed in 1974, Dan Inosanto shows how the nunchaku are used. - “Interview with Kareem Abdul-Jabbar” (2:06). Filmed in the 1970s, this interview with Kareem Abdul-Jabbar focuses on his work with Bruce Lee on Game of Death. - “Frames of Fury” (5:59). This is a montage of moments from the production of Game of Death which feature the cast and crew between camera set-ups. - Image Galleries: “The Hall of the Unknown” (29 images); “The Hall of the Tiger” (299 images); “The Hall of the Dragon” (234 images); “The New Territories” (21 images). DISC EIGHT (Blu-ray): - Tower of Death (Hong Kong Version) (86:38). This Hong Kong version of the film was the one released on DVD by Hong Kong Legends in the early 2000s. - Game of Death II (International Version) (95:29). This international version is the longest cut of Game of Death II, and incorporates some additional stock footage, including the greenhouse fight that Sammo Hung originally directed for the Chinese versions of the original Game of Death. - Commentary by Frank Djeng and Michael Worth. Djeng and Worth provide another warm and lively commentary track exploring Game of Death II, its production, and its distribution history. - Game of Death II: Alternate Korean Version (72:15). Titled “The Tower of Death,” this is the cut of the film that was released in South Korea in 1980. It is vastly different to the other edits of the film, removing nearly all of the footage of Bruce Lee. However, according to some sources this version appears to be missing some footage that should be present. - Game of Death II: Alternate US VHS Version (94:47). In the US, Game of Death II was reworked to remove the footage from Enter the Dragon, replacing this with material from other Bruce Lee films. Arrow have “rebuilt” this edit using HD materials. - Interview with Roy Horan (23:59). In an interview recorded in 2001, producer/actor Roy Horan discusses his work in cinema, and reflects on his performance in Game of Death II. - Alternate End Credits (6:07). Some different closing credits for Game of Death II are presented here. - Trailer Gallery: Early Promo Trailer (Telecine) (5:16); Early Promo Trailer (Reconstruction) (5:17); HK Theatrical Trailer (Cantonese) (4:10); HK Theatrical Trailer (English) (2:04); Bruceploitation Trailer Reel (25:41). The “Bruceploitation” films whose trailers are featured on this disc include Exit the Dragon, Enter the Tiger; Bruce Lee Fights Back from Beyond the Grave; and Dragons Die Hard. - Image Gallery (35 frames). DISC NINE (Blu-ray): - Bruce Lee: The Man & the Legend (1973) (85:40). This is Shih Wu’s 1973 documentary about Lee that was produced swiftly after Bruce Lee’s death. It’s a fascinating documentary which features some fascinating interviews and behind-the-scenes footage of Lee, with a heavy emphasis on how Lee incorporated his martial art into his films. The documentary is presented in 2.35:1, with a DTS-HD Master Audio 1.0 track. The narration is in English, and some of the documentary is in Chinese with forced English subtitles. - Bruce Lee, the Legend (1984) (89:08). Made in 1984 and directed by Leonard Ho, this documentary was produced by Golden Harvest in tribute to Lee. Compared with The Man & the Legend, this documentary takes a more holistic look at Lee’s life. It explores his early years and his work in Hollywood, before examining the martial arts films he made in Hong Kong. The documentary is presented in 1.78:1, with a DTS-HD Master Audio 1.0 track. - Bruce Lee, the Legend: Alternate Video Version (83:56). This is a slightly different edit of the Leonard Ho documentary, apparently assembled in 1983 and released on videocassette in some countries. It is presented in 1.33:1, with a lossy Dolby Digital 2.0 mono track. - “A Tour of Golden Harvest Studios” (7:13). Andrew Staton, an authority on Bruce Lee and his work, shot this “tour” of Golden Harvest’s studios in the early 1990s. Russell Cawthorne, who wrote Bruce Lee, the Legend, guides Staton and his crew through the studios and discusses how they were used. - Enter the Dragon: Alternate HK Credits (2:17). These credits, assembled for the mainland Chinese version of Enter the Dragon, are more in keeping with the credits sequences of Lee’s earlier Hong Kong films. - Theatrical Trailers: The Man & the Legend (2:24); Bruce Lee, the Legend (2:06). - Image Gallery (10 images). This is a gallery of artwork, posters, and video covers for The Man & the Legend and Bruce Lee, the Legend.
Overall
 As a young person growing up during the home video boom, and as someone who was studying martial arts at the same time, Bruce Lee’s films were incredibly important to me, both for their value as entertainment and for their exploration of Lee’s philosophy of martial arts. They offered a “way in” to Hong Kong cinema, in particular, leading to exciting encounters with Made in Hong Kong’s VHS releases of other martial arts (and “heroic bloodshed”) pictures. This seems to be a fairly common experience, and the release of Lee’s films in uncut versions (sans the old BBFC cuts) in the early ‘00s was incredibly exciting. This new boxset of Lee’s Golden Harvest pictures is even more thrilling, for its inclusion of the films in 4k UHD, with innumerable alternate audio tracks, and variant edits of the films – particularly the newly-rediscovered “Mandarin cut” of The Big Boss.
It's difficult to pick a favourite film from this set, as they are all so impressive. (Even Game of Death II, which has only a tangential relationship with Lee’s body of work, is a ridiculously entertaining picture.) Arrow’s inclusion of some incredible contextual material, and the superb presentations of the main features, ensures that this boxset will undoubtedly be a strong contender for home video release of the year. It’s an essential purchase for Bruce Lee fans, and fans of martial arts cinema more generally.
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