Film analysis on kung fu hustle

Don't want to go full movie nerd here, but the film was, in my opinion, a brilliant critique on a modernizing China that still battling a lingering memory of a romanticized, but outdated, history. Sing's Start of Darkness involves him getting beat up by a gang of bullies because he tried to defend a mute girl from them.

Not to mention Po's face when Tigress lands back down. Getting Crap Past the Radar: One of the reasons why Po was able to win against Tai Lung was because he was able to use things he's familiar with, like noodles, fireworks, and bamboo sticks.

White shirt, black pants. Alternative Foreign Theme Song: The Shaws nevertheless continued film production until before turning entirely to television Teo, A bunch of people asked about the musical instrument played by the two blind assassins.

The slum that most of the movie takes place in has a communal fountain that some residents have to use to clean themselves The sub script is Woolseyed in other areas as well, while the dub is more straightforward, including keeping the reference to Yang Guo and Xiaolongnu from yet another famous Wuxia novel.

Thank you, Big Brother.

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It's mentioned in the Director's commentary, however, that the media and most reporters of the movie thought it was Yuen Wo-Ping his brother, who cameoed in Chow's previous movieand wouldn't believe Stephen Chow when he said it wasn't.

Monkey's VA is Jackie Chan. First it's the animated cast, then pictures depicting slices of their lives after the end of the movie.

Really, the only reason Master Oogway dies is so he can't use his awesome nerve attack to KO Tai Lung in five seconds. Somehow, the final dumpling has this when Po finally wins it.

In the s, it also became a center of Mandarin language film making after the Communist takeover in mainland China and the entertainment industry shifted from Shanghai to Hong Kong.

Aside from the Blues Brothers reference, the instrument is based on this epic fight scene from Deadful Melody. And one of the most important characteristics shown by the Landlord and the Landlady are that they're fiercely loyal to one another.

The ending of the film, in which Sing has proven to be more than a match for The Beast. Dozens of Axe Gangsters vs. I think, and I am fully disclaiming this is just my subjective interpretations here, they are meant to be personas— anti-metaphors for their characters.

This is why Oogway refused to make him the Dragon Warrior. A group of six people followed the production crew throughout the shooting.

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Oogway's ascension to Heaven is marked by a storm of petals carrying him into the air. So he is punished for it, but then as a result comes to terms with his real growth and elevates like, literally elevates, into the sky into a better person. Note that I don't feel like this is a statement about the West, but actually about the loss of classic values in modernity.

As the morning sun comes up, Shifu discovers the solution of how to train Po. During the end credits, Monkey is confused at finding his stash empty Po nearby with almond cookie crumbs on his mouth. In these respects, Kung Fu Hustle does everything a “critic” should expect from a film, meriting it at least an average score.

This is also the problem with many critics: they don't recognize movies for their power as visual art. They're content with evaluating a script and merely accepting the visuals as extra treats. Chow’s film Kung Fu Hustle is an important sign in the evolving Asian market to adapt and interact with the western industry.

Chow, through production, funding and the acting incorporates western aspects that are ‘acceptable’ to the Chinese people.

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The development of film through pooling resources from different industries and applying the different genres that were previously not being utilized has aide. Transnational Movie Analysis of “Kung Fu Hustle” Write a short paper on “Kung Fu Hustle”(Asian film) by director Stephen Chow (about words).

Kung Fu Hustle

In paper, you will provide a critical analysis of its transnational aspects in any of production, distribution, reception and textual (aesthetic) contexts, with making connections to issues and.

Chow’s film, Kung Fu Hustle answers the Joroen De Kloet’s call to ‘move away from the textual to the contextual’ and still address the same issues that previous directors were trying to address.

Film analysis on kung fu hustle
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