There are two genres of films that I think have managed to achieve the status of showcasing the full extent of what the human body is capable of doing. The first are the musicals produced during the Golden Age of Hollywood, where the lives of Gene Kelly, Fred Astaire, Ginger Rogers and a wealth of other great performers demonstrated their prowess when it comes to the art of dance. The second are classic martial arts films, where ancient Eastern techniques combined with mainstream cinematic action to produce some absolutely mesmerizing results. Both kinds of films tend to centre themselves around unforgettable sequences of physicality, choreographed to the point of perfection, punctuating them with simple but memorable stories that serve less of a narrative purpose, and are more a means to get from one sequence to another. Bruce Lee is often considered the gold standard when it comes to the latter category, but it would be foolish to overlook someone else who frequently achieved the same level of physicality, the undeniably iconic Jackie Chan. Over the years, Chan has grown into a cultural icon all around the world – his good-natured humour and impressive skills as an actor have made him one of the most endearing performers of his generation, and allowed him to flourish into someone who can easily blend comedy and action without even an iota of difficulty. One of his landmark achievements was Drunken Master (Cantonese: 醉拳), a hilarious and irreverent martial arts film that seamlessly combines a hilarious story with some truly impressive action filmmaking, elevating it to the status of one of the most essential entries into the long and intimidating canon of Hong Kong films, and a piece of filmmaking so bizarre, we don’t have any choice other than to remain in awe.

Drunken Master is the kind of film that earns its merits almost entirely on the strength of its star, rather than the story itself, which is not an uncommon occurrence for films designed almost entirely around the physical capabilities of its actors. The premise follows a young, aimless martial arts student who might not be the best when it comes to the traditional methods, but shows great abilities in the more rebellious side of combat, which has led to him being seen as something of a revolutionary, necessitating his training with a particular master that his parents genuinely hope can help him improve his discipline. It’s not a particularly complex film in theory, but this is less of a criticism and more of an observation, since most Hong Kong action films depended less on the story, and more on the spectacle – and director Yuen Woo-ping truly managed to do this throughout Drunken Master, harnessing the energy of the genre and turning it into something that isn’t only accessible to outsiders (serving as a delightfully insightful glimpse into the ancient art form), but remains entirely entertaining for its duration, never once coming across as lacking in energy, or lagging behind. A great deal of this comes about as a result of the director embracing all of Chan’s unique energy and allowing him to have fun (rather than having him play it entirely seriously), while still showcasing his remarkable skills as both an actor and an athlete, and considering this is one of the actor’s most successful films, in terms of both financial profit and critical acclaim, it’s difficult to argue against Drunken Master‘s status as one of the more memorable martial arts films of its time, and a rousing success for the legacy of its iconic star. 

Martial arts films tend to be the subject of a great deal of parody, and whether it be the poor dubbing, the emphasis on the style over narrative substance, or the fact that many of them follow the same pattern with an almost religious adherence, few genres have been subjected to more ridicule than this one. However, what many will undoubtedly agree on is that, when it works, there is nothing quite as entertaining as a well-made action film. It may take some degree of suspension of disbelief, and we need to fully invest in the absurdity of this story to enjoy it to its full potential, but there’s something so endearing about a film that is so quintessentially profound in its willingness to entertain, and Drunken Master is a truly brilliant example of the magic of the genre. Whether you watch the film in its original Cantonese or dubbed into another language (which is perfectly acceptable, considering most Hong Kong films were filmed silently and then dubbed in post-production), you are going to get the same quality of entertainment, since this is one of those rare cases where the story, while important, doesn’t actually play a part in how much we enjoy the film, since it helps us get from one scene to another, and there are some hilarious moments that take place between the main characters – but it’s just a testament to the valuable nature of the genre, where the experience is built on physical movement and how it captivates us, rather than the story plodding along and distracting from what everyone ultimately came to see.

While it is anchored by Chan’s remarkable performance, Drunken Master owes a great deal of its success to the director, with Yeun managing to perfectly encapsulate everything that makes this genre so endearing. The filmmaking here is impeccable – it isn’t enough to just have a genuine star anchoring the film, and there needed to be some degree of creativity in how Chan’s physicality was captured on screen. Yeun does exceptionally well in following his star’s movements, using the camera as a fluid tool to capture every degree of Chan’s athleticism, presenting it in a way that is even more enriching. Drunken Master isn’t only a film that draws us in – it absolutely hypnotizes us, to the point where we become lost in this world, the director creating something so gripping, it’s often bewildering to imagine some of what we see on screen was actually the result of real choreographed movements, rather than special effects (and Chan’s insistence on doing his own stunts is one of the primary reasons he has ascended to almost historical importance). It’s a peculiar sensation, since everything about the film somehow manages to mesmerize us, even if the viewer isn’t fond of martial arts films. It’s a difficult concept to pull off effectively, and Yeun manages to easily construct something meaningful from the fragments of an otherwise straightforward story, all due to his ability to capture the brilliance of his talented lead, turning his movements into an unforgettable series of moments that show us exactly why this genre has been cherished for so long, whether it be by those who find artistic value in the decisions made, or more casual viewers who just enjoy seeing a couple of hours of action, interspersed with some hilarious scenarios that only strengthen the overall experience.

It’s difficult to watch a film like Drunken Master and not be inspired in some way – whether in terms of feeling the awe that comes when seeing what the human body is capable of, or in how Yeun takes a relatively pedestrian story and weaves it into a fascinating comedy that is as insightful as it is funny (the blend of contemporary sensibilities with traditional beliefs is one of the more brilliant aspects of the film, and one that is unfortunately overshadowed by the more bombastic fight scenes), and creates something that is difficult to not absolutely adore. We’re engaged throughout the film, and we don’t even notice the running time, proving that length means nothing when we’re given the chance to just have a little fun with a film. Drunken Master may not be a masterpiece in the traditional sense of the word – after all, it’s essentially a story about a young man discovering that he can improve his skills as a fighter through getting drunk, the inebriation only heightening his strength – but when we look beyond the premise, and take it for what it is, it’s difficult to find any fault in what Yeun was doing when constructing this film. Perfectly calibrated, brilliantly filmed (some of the fight scenes can easily rival those done by the greatest martial arts practitioners in history), and wildly funny, Drunken Master is a staggering achievement, and a vital piece of filmmaking that continues to prove that entertainment is often more paramount to a film’s resonance than anything else, and that a film can easily be worthwhile on the sheer value of how much enjoyment it brings to the viewer.