Revisiting a Lost Gem: Why Andy Lau’s “Drunken Master III” Deserves Global Rediscovery
I. Breaking Free From the Shadow of a Legend
While Jackie Chan’s Drunken Master (1978) and Drunken Master II (1994) rightfully enjoy international acclaim, the 1994 finale Drunken Master III starring Andy Lau remains buried treasure awaiting excavation. This cinematic paradox – simultaneously connected to yet distinct from its predecessors – presents a fascinating case study in Hong Kong cinema’s evolution during the 1990s transition period.
Director Lau Kar-leung (刘家良), a staunch traditionalist of Southern Shaolin styles, consciously diverged from Chan’s slapstick approach Where Chan’s Huang Feihong embodied mischievous modernity, Lau crafted a politically charged narrative where martial arts become revolutionary tools against Yuan Shikai’s imperial ambitions This ideological shift transforms the drunken fist from comedic device to symbolic resistance – intoxicated movements masking calculated strikes against oppression.
II. Andy Lau’s Revolutionary Romanticism
As undercover revolutionary Yang Jun, Lau delivers career-best physicality fused with Shakespearean tragedy. Observe his introductory scene: disguised as Yuan’s loyal general, every rigid salute and controlled footwork exudes military precision, yet his eyes betray simmering moral conflict When protecting imperial princess Shen Yu (Michele Reis), Lau’s combat transitions fluidly between:
- Formal Northern Praying Mantis styles when maintaining cover
- Explosive Wing Chun close-quarters strikes during emotional breakthroughs
- Drunken feints symbolizing revolutionary subterfuge
His final rooftop duel against Qing dynasty assassins becomes a kinetic ballet – bamboo poles clashing like Marxist manifestos against feudal decay.
III. Michele Reis: Beauty as Political Statement
The film’s secret weapon lies in Michele Reis’ multilayered portrayal of Princess Shen Yu. Far from a damsel in distress, her character arc mirrors China’s transition from monarchy to republic:
- Act I: Ornamental Object
Draped in suffocating silks, her initial scenes frame her as Yuan’s political pawn through oppressive close-ups – Act II: Gender-Subversive Warrior
Disguised as a male refugee, Reis adopts rough Shanxi dialect and drunken boxing stances, physically deconstructing patriarchal norms - Act III: Revolutionary Muse
The iconic tearful smile while villagers bow to her broken jade ring (玉扳指) becomes a silent manifesto – true authority stems from people’s devotion, not imperial relics #### IV. Choreography as Historical Commentary
Lau Kar-leung’s action design serves as martial arts historiography:
| Sequence | Style Used | Historical Parallel |
|---|---|---|
| Wine Cellar Ambush | Drunken Eight Immortals | Satire of warlord-era political drunkenness |
| Market Chase | Monkey Style | Common people’s agility against rigid bureaucracy |
| Final Temple Battle | Fusion of Hung Gar & Drunken Fist | Unity of Southern styles against Northern imperial forces |
Particularly revolutionary is the “drunken” aesthetic – unlike Chan’s literal intoxication, Lau’s fighters use staggered movements to mask precise strikes at pressure points, mirroring revolutionaries’ need for concealed resistance
V. Preserving Cultural Memory Through Combat
The much-criticized “traditional vs modern” clash between Lau and Chan actually created vital dialectics:
| Traditionalists (Lau) | Modernists (Chan) |
|---|---|
| Authentic lineage forms | Creative style fusion |
| Martial virtue (武德) focus | Comedic accessibility |
| Historical accuracy | Contemporary relevance |
-Drunken Master III* preserves endangered styles like:
- Liuhe Bafa (六合八法拳) water-element techniques
- Ditang Quan (地趟拳) ground fighting from Ming resistance forces
- Yuchun Quan (鱼春拳) Hakka minority styles
These become living archives of anti-Qing rebellion techniques, now recognized by UNESCO as intangible cultural heritage.
VI. Why Global Audiences Should Revisit
- Political Relevance
Yuan Shikai’s failed monarchy (83-day reign) mirrors modern authoritarian overreach 2. Feminist Undertones
Shen Yu’s transformation subverts wuxia’s male-dominated tropes - Choreographic Innovation
The “drunken ladder” fight predates Crouching Tiger by 6 years - Cultural Bridge
Perfect gateway to explore Republican-era history through entertainment
VII. Conclusion: A Cinematic Time Capsule
More than mere entertainment, Drunken Master III preserves 1994 Hong Kong’s anxieties through martial metaphor – the handover looming like Yuan’s imperial ambitions, traditional values battling globalization. Andy Lau’s Yang Jun becomes every Hong Konger’s spirit – adapting Western suits (colonial influence) while hiding revolutionary heart (Chinese identity).
For foreign viewers, it offers not just action thrills but keys to understanding China’s ongoing dialogue between tradition and modernity. As the drunken fist proverb goes: “The staggering path often reaches furthest.” This film’s rediscovery may yet stagger into rightful acclaim.