Leofwine_draca This film from 1979 marked Jackie's first venture behind the camera as director. FEARLESS HYENA is a traditional, period-set kung fu flick that closely resembles other Jackie Chan films made around the same time: the focus is on comedy followed by revenge, and these elements, in combination with the sheer screen presence of the young star, make it well worth watching. It begins with a chase scene in which the ruthless Yen (who half resembles Christopher Lee) murders a number of rivals using his kung fu skills. The story then cuts to more familiar territory as we are introduced to Lung, Jackie's character. Lung is learning kung fu skills from his grandfather (played by the familiar and reliable James Tien).The first hour of the film follows the comedy-kung-fu mould as we watch Lung train his kung fu as well as interact with various characters in the village. These range from a crazy undertaker (a cameo from Dean Shek) to three gamblers, who eventually persuade Lung to come and work at their kung fu school. Jackie proves his worth by beating a number of rivals. The final half hour of the film concentrates on revenge as Lung discovers a new mentor (a crippled beggar nicknamed 'the Unicorn') and undergoes some gruelling training before taking on the bad guys in a violent showdown.Essentially FEARLESS HYENA is a film made up of two separate parts, with the first hour concentrating on comedy, and the latter part building up to a vengeance-fuelled showdown. The comedy is of the slapstick variety that Jackie loves, and there are some obvious nods to the likes of THE THREE STOOGES as our hero joins up with a trio of gamblers and engages in some cartoonish battles with them. Love it or hate it, this type of slapstick comedy was beloved by Chinese audiences and always pops up in these types of films.Better still are the 'comedy fights' in which Jackie battles his opponents in various amusing ways. These fights are centred at the kung fu school, as Jackie dons a variety of disguises to battle a series of hardened kung fu masters. It's easy to dismiss these scenes as childish or time-fillers but in fact they display some highly impressive acrobatic skills from the star, whose split-second timing is impeccable. The scene where he dresses as a cross-eyed janitor and fights an opponent using benches and a table, for instance, is wonderful, expertly choreographed and full of fluid action that only seasoned performers could have pulled off.This wouldn't be a traditional kung fu film without any training sequences, and these are also some of the best put on camera. Jackie proves himself to be at his physical peak as he performs upside-down sit-ups over and over again and drags weights across a field, every muscle and tendon on his body straining. The opening and closing fight scenes get pretty violent – the blood runs freely – and the finale in particular is edge-of-the-seat stuff. A new type of kung fu is introduced into the film; it focuses on the emotions (happy, sad, angry, etc.) and with it Jackie is able to take down his opponents in various painful ways.Watching Jackie fight in new, unique ways is always a pleasure and the fights here are no exception; trust Jackie, he's even able to inject some humour into these moments, with his 'sadness' kung fu resembling drunken boxing as he falls over and against his opponent. As the villain, Yen, Yam Sai-kun may not be as skilled as Hwang Jang Lee, but his kung fu skills are pretty spectacular, especially his deadly 'eagle claw' strike. The film ends on a real high with Jackie excelling both in front of, and behind the camera. His fellow cast members all put in good performances and the martial arts is tremendous as usual.

winner55 For me, the absolute best of Chan's earliest 'star' period (that is, not counting early bit-parts), and actually better than "Drunken Master".Before judging this film, one has to ask after Chan's real goals here. He wants to demonstrate that he can write a whole narrative that flows in smooth linear fashion; he wants to learn all he can about camera placement and editing; he wants to pay tribute to the comic masters of the past that he truly admires, especially buster Keaton and Douglas Fairbanks (the original Zorro); yet he also wants to demonstrate that he can act serious scenes, and that he can direct other actors performing serious scenes. In this way, he identifies himself as real creative talent, and not a Sammo Hung clone, not a Yuen woo Ping clone, and anything but a Bruce Lee clone - which means that he is already thinking of his future, non-Asian audiences.So the question becomes, first: whether or not he accomplishes these tasks.Well, obviously, I think he has.consider this: With a lesser actor and director, the transition from the 'silent comedy' tribute scenes in the martial arts school at the beginning, to the revenge driven training sequences later on, would snap the film in two. But here, when Chan's character discovers the murder of his grandfather, he also discovers that he himself, in however small a manner, has been instrumental in leading the murderer to his grandfather. Thus, the hidden issue requiring resolution is not revenge at all, but guilt and expiation. This reconstructs the Chan character as a young man on the quest for redemption, not just revenge. (A theme brilliantly emphasized by the very last image of the movie.) On top of this, Chan has demonstrated articulate command of medium; he has also directed James Tien, who little older than himself, to appear convincingly as his grandfather; and of course, the comedy is hilarious, especially the fight in drag.Chan fans, as well as fans of silent comedy, and of chop-sock kung-fu, owe it to themselves to see this movie, enjoy it, and remember it.

Shawn McKenna Jackie Chan had just established his Hong Kong popularity with Seasonal Pictures Snake in Eagles Shadow and the sublime Drunken Master. With the success of those films Lo Wei, who lent him out to Seasonal, let Jackie have complete control over his next picture. Fearless Hyena would be Jackie's directorial debut – though he would be working with a much smaller budget than his Seasonal experience. He would also stunt coordinate and write this film too. This movie would out gross the stellar receipts of Drunken Master and help earn Jackie 6000 HK dollars (his pay was 3000 per film; though he made over 50000 on Drunken Master). This measly pay helped exacerbate the rift between him and Lo Wei which led to his departure and the infamous sequel. Jackie reprises his goofy student role that he played in Drunken Master. This time he is Shing Lung, a talented but capricious student and grandson of Chen Ping Fe (the ubiquitous James Tien). Lung would rather gamble or goof off then study his forms. Little does he know that his Grandfather is marked for death by Yen Ting Hua (the underrated Yam Sai-kwoon aka Yen Shi Kwan) who is trying to destroy the Sien Yi clan founded by Hiu Fei (I just love keeping track of these names, I do not know why). Though Shing is forbidden to teach (or show) the Kung Fu his grandfather teaches him he (of course) does it anyways.Shing tries to make his grandfather proud by getting a job selling coffins. The coffin dealer played by Dean Shek is an unscrupulous merchant who even sells secondhand coffins. This cameo plays to the strengths of Dean and is quite an interesting and hilarious scene. Hapless Shing blows this opportunity by trapping Dean in one of his favorite coffins. He runs away and while walking the public he is confronted by three ruffians (Great Bear, Stony Egg and Ironhead) he beat up earlier. They want him to teach them Kung Fu.Shing meets their Master Ti Cha who is in charge of the Everything Clan who has no actual skills except for scheming. Ti offers Lung a position and lots of money to help there school learn effective fighting techniques. Ti uses him in the old ploy as a lowly laborer to fight heads of other schools (so if the lowly laborer is that good, just imagine how good Master Ti is.) This leads to several excellent fight scenes that are incredibly fun to watch. I especially like when Shing fights the Lu Ying and the Willow Sword (using the Pink Panther theme as background music) as a cross-eyed beggar. He then fights a large albeit slow man as a woman (yes, Jackie in Drag and no he is not cute).Shing then makes a huge mistake by naming the facility under the Sien Yi name. Now the rest of the film is very predictable with the ultimate showdown between Shing Lung and Yen Ting Hua. The way it is handled though is quite sagacious. The training scenes are Jackie at his masochistic best. With him pulling huge sacks, doing amazing upside-down sit-ups with his new trainer the Unicorn having a sadistic gleam in his eyes. Shing is even taught Emotional Kung Fu (which Jackie made up for this film) using Joy, Anger, Sorrow and Happiness to focus on one's enemy "emotional" weak spot.One of my favorite scenes is the Dueling Chopsticks scene in which the Unicorn prevents Shing from eating by using his chopsticks (of course.) Unfortunately it has influenced me to be quite annoying and apply this whenever applicable.I would not rate this film as highly as Drunken Master. There are problems with the plot that takes too much from Drunken Master. However, I feel that this is an unheralded martial arts piece that is funny and exciting with excellent ideas and stunt choreography by Jackie Chan. This is also a must see if you want to watch Jackie in drag.

EricD-3 If you like Jackie Chan movies solely for the great Kung Fu fights, this is one movie not to miss. It features about 4 LONG battles and one training scene and they are certainly great. I consider this movie to contain some of his best fights ever, after the final battle in Who Am I and the battles in Drunken Master 2.It is pretty old but if you don't mind that and if you see Jackie Chan movies simply because he kicks butt, don't miss this.The plot line is not amazing and the people who translated this movie made an awful job at it (I also watched the French version which is WAY better).