Enter the Dragon

When this movie came out (1973) I was three-years old. I'm not sure if my immigrant parents ever watched it, but now, 37 years after the fact (that sounds so scary), I finally watched the cheesy, fun-filled ENTER THE DRAGON. It's a film I feel like I've seen given all the parodies, copycat plots, and Bruce Lee mania... not to mention the quotes still live on ("You have offended my family, and you have offended the Shaolin Temple").

While I don't think this film was meant to be as funny as it was, I was rolling with laughter from the pit of my stomach, and at times, cringing at the hysterical stereotypes in this film. From Roper (John Saxon) the gambling white guy and his pathetic opening fight scene at a golf course, to the Black Panther afro-sporting karate man, to the sinister Mr. Han and his iron hand. (And what was up with that random Chinese Hitler lookin' dude who was gambling during the tournament?) Oh, and don't get me started with the circus atmosphere at the "welcome party" on the island with acrobats, exotic Chinese food, women, and the sumo wrestlers (hellloooo, that's a JAPANESE sport, wth?)

My husband swears that when he first watched this film (when he was 12), it coolest movie he had ever seen, even though it opened the doors to every ignorant kid asking him if he knew kung fu while growing up. But for someone like me who didn't grow up watching 70s martial arts films, the sophistication of today's CGI-filled stunts and action films, really makes ENTER THE DRAGON that much more laughable. I couldn't help but notice how bad all the extras were while practicing their punches, and especially the lack of finesse (and flexibility) by Saxon, who in the end, kills the burley Bolo (yeah right, but I relented and went with it)

Of course, what saves this film is Bruce Lee, the Legend alone. First of all, that man has the art of the "sneak" down pat! The way he slithers around, darts his eyes, and then quickly moves his head to the side is so classic. Secondly, the man's body has 0% body fat, and he's ripped (by 1970s standards). It's obvious he's the one and only true martial artist in this film. And most importantly, his commitment and intensity is so impressive.

The predictability of this film made it even more entertaining. Although I do feel like it lacked completion because we never learned what happened to Bruce's girl on the island. Oh, and I was quite shocked that the films credit roll took about 30 seconds. Things have really changed in the last 40 years!

Split Horn: Life of a Hmong Shaman in America

I think it's fair to say that the majority of Americans have no idea who the Hmong are. A very small ethnic group from the mountains of SE Asia, they have a fascinating culture that is not only very family-centric and spiritual, but also very superstitous. But you rarely hear or read about them, let alone get the opportunity to learn much about their history.

The majority of Hmong Americans live in the Midwest, and how their story grabbed the attention of Clint Eastwood to write/direct his 2009 film Gran Torino, is beyond me. While there have been grumblings that the portrayal of Hmongs in his film were inaccurate, I would venture to say it's likely we won't see first-time actor Bee Vang cast in another leading role in a very long time (or ever).

This discussion encouraged me to dust off a copy of THE SPLIT HORN, a documentary directed by Taggart Siegel which screened at the SDAFF nearly 10 years ago. Set in Appleton, WI, the film is narrated by a young Hmong girl (one of 13 children) whose immigrant father, Paja Thao, is one of the last known Hmong Shaman in America. The documentary spans an impressive 17 years of Paja's life in Laos and his forced journey to America.

From the moment the film begins, you enter into the intimate world of the Thao family. Watching scenes of this elderly man with what looks like a black napkin over his face, jumping up and down on a bench with bells on his fingers, it looks so foreign that you can hardly imagine this kind of tradition taking place in a town like Appleton. While in theory, the film is similar to most immigrant stories about the classic stuggle to maintain one's cultural heritage, THE SPLIT HORN, demonstrates how difficult this particular culture is to uphold.

From the 4-day long funerals, to the sacrificing of cows and pigs, and the two-hour shaman trances, even Paja's own children admit that it's much easier to assimilate and become Christian (and say a few prayers) than to hold a laborious ceremony to find missing spirits that may have caused someone's illness. Not to mention that one of Paja's teenage daughters were kidnapped by a complete stranger who traveled all the way from Fresno just to marry her. While in America, this would be considered a crime, the family sadly accepted her disappearance as the continuation of Hmong tradition.

While a good lesson in Hmong rituals, the film also has some tender moments that we all can relate to, and a few that caused me to tear up, including a final interview with a wayward son who says of Paja, "He is so dignified... I am proud to be his son."

I have to give much credit to filmmaker Taggert Siegel for his diligence in documenting this family, capturing so many difficult moments (one that includes the dressing of a dead uncle in traditional Hmong clothes to give him a good send off to his ancestors). I can't even imagine how much video over the 17 years Siegel must have acquired. However, the Thao family deserves just as much credit for their willingness to open their home to Siegel for so long. I don't think it's a stretch to assume most Asian American families would never allow this kind of exposure (particularly any negative exposure or drama about one's family). But it exemplifies the determination of Paja Thao's deep passion to pass on the tradition of shamanism that served as the driving force behind this film.