
By Landon Huneycutt
Drunken Master II is the meeting of the distinct choreography and directing styles of two martial-arts movie masters: Lau Kar-leung and Jackie Chan. The former’s shots often last longer, and the fights are more balletic. The fight scenes are mostly wide shots with only slight camera movements and cuts to visualize new vantage points and emphasize impact. The latter also uses cuts to emphasize impact but switches more often between wide and medium shots. Chan took over as director after disagreements arose on set, though reports conflict as to whether Lau was fired by Chan for being too traditional or if he quit. With the tumultuous production, it’s a miracle the film is not a mess — and an even greater miracle that it is a masterpiece. There’s a fluidity between the two directors’ styles, combining the best of both.
The camera and the performers are in complete harmony here: The camera follows our performers with an agility that captures the chaotic action without muddling into chaos. Lau’s control of space allows him to capture so much action in each frame, with elaborate setups for both horizontal and vertical motion. Drunken Masters II offers not only some of Lau’s and Chan’s finest direction, but also some of their strongest work in front of the camera. Chan uses various fighting styles, most famously the Drunken Eight Immortals style of Drunken Boxing. Chan moves as though he lacks a skeletal system in the way he bends, jumps and thrashes around. A scene with a big axe fight is awe-inspiring in how it captures the actions of dozens of fighters without ever losing focus on Lau or Chan. They constantly find ways to top themselves with the stunt work and ingenious choreography. A great deal of humor is mixed in — thankfully never diminishing the tension — and also melodrama. They provide a nice balance and heart, as our main characters fight against colonialism and the forces hired to protect said interests.
The film was released in Hong Kong in 1994, 16 years after the release of the first Drunken Master. Hong Kong was preparing for its handover from the United Kingdom to China in three years’ time, and there’s a feeling of finality. Chan’s character desperately defends Chinese artifacts against foreigners wanting to take them. Chan taking over directing duties represents a new guard replacing the old (even though this is one of the last films he directed). This was also his last film before heading to America. It’s a glimpse of a new Hong Kong on the horizon, a new chapter for Chan and the final masterpiece from Lau.
It’s not too late to catch this landmark in Hong Kong cinema!