This paper exemplifies various similarities and differences between “Drunken Master” and “Fist of Fury”.
Firstly, both films are nationalistic and portray the Chinese masculinity. Nationalism and Chinese cinema have always been intertwined. “Fist of Fury” is situated at the period when China was recovering from degradations and humiliations in the hands of Japanese and other colonial powers. Lee acts as a strong Chinese man who confronts all humiliations and challenges and triumphs over them thus portraying his nationalism. Lee defeats Japanese clearly indicating the triumph of Chinese martial arts over external forms and illustrates how customary martial arts were deeply ingrained in Lee. Additionally, Lee’s triumph and devotion to defending the society is depicted when he uses his Chinese martial arts skills to defend and protect his community against external interference, a factor that further indicates the role that men were supposed to play in the traditional Chinese community. While many analysts document Lee’s nationalism as hugely controversial and the entire process of defining who a Chinese is as multifaceted and dubious, Lee’s character embodies a Chinese who is anti-Japanese and the avenge against the slaying of his master portray the antagonism that existed between Chinese Nationalists and the ‘others’, typically represented by Japanese villains (Louie, 92). Similarly, in the “Drunken Master”, the nationalistic spirit and Chinese masculinity are featured through the character of Jackie Chan. Chan, despite being dreadful of Chinese martial arts, is forced to train in it which later enables him to defend his father against being butchered by Yan Ti San who was hired by a business opponent to kill Chan’s father. Chan was to be trained by Beggar who is legendary for crippling students when training. When Chan finds it hard to survive in Beggar’s school, he leaves for Drunken Master’s school and learns