Before filmmakers such as Park Chan-wook, Kim Jee-woon, and Kim Hong-sun expanded their artistic influence beyond national borders, Jeong Chang-hwa had already engaged in transnational collaboration during the 1960s. Working with the Hong Kong-based Shaw Brothers Studio, Jeong played a pivotal role in the popularization of Kung Fu cinema among Western audiences. His seminal film Five Fingers of Death (also known as King Boxer) significantly contributed to the emergence of the martial arts genre in the U.S. market, preceding and accompanying the global breakthrough marked by Bruce Lee’s Enter the Dragon. How might we understand its legacy today?
The rise of Five Fingers of Death would not have been possible without Shaw Brothers Studio, the Hong Kong-based production company inspired by the Hollywood studio system. Established in 1958 by Run Run Shaw, the studio operated out of its massive Movietown complex in the Clearwater Bay area and, at its peak, produced up to 1,000 films annually. Run Run Shaw’s bold introduction of a contract-based system for actors, directors, screenwriters, and other personnel revolutionized film production in the region, turning Shaw Brothers into one of the most powerful and prolific studios in Asia. Masters of the kung fu genre, such as King Hu and Lau Kar-leung, as well as iconic actors like Sammo Hung and Jackie Chan, began and flourished in their careers under the studio’s expansive umbrella. Among them was Jeong Chang-hwa, whose artistic vision matured at Shaw Brothers. In a later television interview, Jeong recalled that the studio allowed directors, actors, and technical staff to collaborate closely to ensure narrative consistency throughout the filmmaking process.
Shaw Brothers Studio became particularly renowned for its martial arts films. Titles such as Come Drink with Me (1966), The One-Armed Swordsman (1967), and Golden Swallow (1968) captivated audiences, and the studio’s distinctive “SB” logo—resembling that of Warner Brothers—became synonymous with high-quality action cinema. Drawing on traditional Chinese martial arts, these films featured meticulously choreographed fight scenes and youthful male protagonists locked in moral and physical struggles against seemingly invincible enemies. Five Fingers of Death is firmly situated within this cinematic context that dominated the Asian film markets of the 1960s.
The Secret Technique of the Iron Fist
Jeong Chang-hwa directed Temptress of a Thousand Faces (1969), a film that showcases the stylish action and youthful exuberance also present in his later work, Five Fingers of Death. Despite these surface-level affinities, the two films are fundamentally different. The former, set in contemporary Hong Kong, follows a female burglar who terrorizes the city—stealing jewelry, gold, and cash—while continually eluding the authorities. Her secret lies in her ability to change her face, a technique that underpins the title’s reference to “a thousand faces.”
The film’s action scenes are well choreographed, and its visual style features vibrant, saturated colors. These aesthetic choices arguably reflect both the influence of the youth culture inspired by the 1960s countercultural and hippie movements, and the film’s focus on a female protagonist. Another element that may resonate with the cultural spirit of the 1960s is the film’s musical score—at times jazzy, atonal, and punctuated by squealing sound effects—which contributes to the suspense surrounding the enigmatic thief.
Five Fingers of Death is set in an unspecified region during the 19th century and centers on the rivalry between two martial arts schools vying for dominance in an upcoming tournament. At the heart of this fierce competition—where victory means securing pride, honor, skill, and public recognition—is Lo Lieh, an ordinary trainee in the virtuous master’s school. Lo endures hardship in the hope of mastering the iron fist technique, a closely guarded skill traditionally passed down to the school’s legitimate heir.
The rival school, led by a corrupt master, resorts to hiring Japanese samurais to maim Lo by breaking his hands. Given the lingering historical trauma of Japanese colonialism in East Asia, the inclusion of Japanese mercenaries as antagonists may be read as a powerful metaphor for betrayal and national disgrace. Despite his injuries, Lo perseveres in training and ultimately masters the technique, securing victory in the tournament.
The Palms are Ablaze
Lo repeatedly thrusts his hands into a heated cauldron of gravel in order to master the iron fist technique. When he raises his hands in preparation for an offensive strike, they turn bright red, appearing almost aflame. This visual cue is accompanied by the theme from the 1967 television series Ironside by Quincy Jones—a screeching, rhythmic sound pattern that rises and falls, intensifying the sense of Lo’s rage and determination. While Lo is ostensibly fighting for the honor of his master and the school, his battle is also deeply personal. He has endured grueling training, attacks by Japanese samurais, and moments of self-doubt. His retaliation is thus charged with both vengeance and resolve. The almost frenzied oscillation of the soundtrack underscores his psychological state—one of seething anger and single-minded focus.
Five Fingers of Death, like many martial arts films produced by Shaw Brothers Studio, resonated strongly with young male audiences. Its appeal lay not only in the fiery spectacle of hand-to-hand combat but also in its aspirational message: that persistent effort and discipline could eventually overcome hardship. The protagonist’s journey suggested that even the most unbearable situations could be transformed through endurance and inner strength.
In the final scene, after winning the tournament, Lo once again confronts the Japanese samurais. As they thrust their swords toward him—blades glinting menacingly in the light—he catches one with his bare hands and breaks it in two. This moment illustrates the ultimate power of the iron fist technique: a young man’s body, honed through rigorous training, becomes an invincible weapon—stronger even than forged steel.
Reliving the Moment in Kill Bill
Quentin Tarantino’s Kill Bill (2003, 2004) is a film rich in intertextual references, drawing extensively from various strands of cinematic history. The influence of Lady Snowblood (1973) is particularly prominent throughout the film. In addition, Bruce Lee’s Fist of Fury (1972) and Game of Death (1978) serve as important points of reference. A clear homage to Five Fingers of Death occurs in a pivotal moment when the Bride, played by Uma Thurman, experiences a flashback. In an extreme close-up, the camera zooms into her eyes, revealing the massacre that took place at her wedding—accompanied by the unmistakable theme from Ironside. This audio cue evokes Five Fingers of Death, recalling the image of the invincible body and the unwavering will to prevail.
From this moment on, the film becomes a chronicle of the Bride’s journey to overcome vulnerability and to fight back with relentless determination. It is a narrative of physical endurance and psychological resolve—a triumphant confrontation with trauma through stylized violence and homage.