In both acting and in the martial arts Lee strove for a combination of instinct and control
But the martial demonstrations of Lee are philosophical in a way that a purely Western film could never be. Because Gung Fu and many other martial arts of the Far East incorporate Confucian, Taoist, and/or Buddhist principles in both theory and practice, they are philosophy made manifest. “Gung fu,” wrote Lee, “can be said to be the Chinese attempt to discover the mysteries of nature”. Thus, like the martial arts themselves, Lee’s films often exhibit both verbal and physical expositions of philosophical ideas. This would have been taken to new heights in Game of Death, which was to have been Lee’s second directorial effort, but he died before the project could be completed.
Granted, Enter does not evince the sort of craftsmanship that is traditionally associated with great cinema. But what is not in doubt is that the philosophy of Lee and his own inspirations are visible throughout the film, elevating it above the genre.
The unification of pen and sword has a long tradition in Far Eastern cultures, and it is not unusual to find historical figures linking thought and action. The 15/16th century Chinese thinker Wang Yang-Ming, for example, was both a military general and a philosopher. The 16th/17th century samurai warrior Miyamoto Musashi advocated that one train oneself in both the literary and martial arts. One can find analogous ideas in the lives and opinions of ancient Western thinkers, but Lee was well aware that modern Western philosophy was dominated by abstract thought. He had studied the subject (along with psychology) at university and was a voracious reader; his library contained more than 2,500 volumes, some of them quite rare. Indeed, so interested in books was he that at one time he considered becoming a secondhand bookseller.
Lee’s perspectives on filmmaking resembled his position on the martial arts. In both acting and in the martial arts, he strove for a combination of instinct and control: “natural unnaturalness or unnatural naturalness”, as he described it in an illuminating interview he gave for the Pierre Berton Show in 1971. In the martial arts he utilised whatever he thought would enhance unarmed combat: fencing techniques, the footwork of boxer Muhammad Ali, the exercises of the Pakistani wrestler Gama, and so on. In films he was influenced and inspired by numerous sources, from American comedian Jerry Lewis to Japanese actor Shintaro Katsu (of Zatoichi fame).
In the martial arts he devoured books on the subject, did not hesitate to criticise what went before, and pushed boundaries. In film he read books on cinematography and filmmaking, was critical of the cinema of both Hollywood and Hong Kong, and aspired to make films of higher quality than what had been produced in the past.
His first endeavour at direction was Way of the Dragon, an unusual production in that it was the first Hong Kong film to be shot in the West. Lee also commissioned a film score, an uncommon procedure at the time. And he was also the first Hong Kong director to view rushes in colour. Lee eschewed cinematic tricks which attempted to mask the fact that the actors were not experienced martial artists, and his martial feats are usually bereft of the magical or fantastical. He thus brought a new level of realism to the martial arts film. Of course, there is a difference between the more flamboyant and theatrical displays of Lee onscreen and his techniques off camera, but not so much that one cannot learn from watching him.
As Matthew Polly perceptively notes in his useful biography Bruce Lee — A Life, the duel between Lee and Chuck Norris in Way of the Dragon is not a random assemblage of flailing fisticuffs, but a Jeet Kune Do tutorial.
Something similar could be said about a melee in Enter, where Lee moves effortlessly from barehanded combat to fighting with staff, sticks, and eventually the nunchaku, demonstrating the ultimate fighter’s ability to battle with whatever weapons are available to him. Lee’s fluidity and skill is visibly genuine, so much so that, rather than speed up his moves to suggest quickness, Enter director Robert Clouse had to speed up the camera to 32 frames per second (instead of the usual 24) in order to capture his movements.
Lee was not the first person to infuse philosophy into a martial arts film — King Hu’s meditative A Touch of Zen had been released in 1970-1971. Nor was Lee the first fighter who wished to strip combat of its inefficiencies — the 16th century Chinese general Qi Jiguang, for instance, also condemned flowery posturing that was useless in actual battle. But neither before nor since has there appeared such a charismatic figure who straddled continents and disciplines in the manner of Lee, and it was because of this, coupled with his indomitable convictions and unrelenting desire to succeed, that he was able to reach millions around the world.
At ease in both East and West despite experiencing racism in both Hong Kong and the US, studious of ancient Chinese wisdom and modern American self-help books alike, Lee’s attitudes to life mirrored his approach to both martial arts and cinematic art. His interviews and private letters are suffused with philosophy. He aspired to perfection, and was not satisfied with mediocrity. He looked to himself for inspiration, rather than others: “The sacred journey is taken alone. Each man must seek out realisation himself. No master can give it to him.” And Lee had little interest in commercialism or identity politics. He married a white American girl, took as his students Americans of different ethnicities, and transcended styles and races. He considered himself, above all, a human being. In Way of the Dragon one can find a Chinese character saying that he doesn’t want to learn foreign fighting styles, but Lee chides him, saying that it doesn’t matter where knowledge comes from so long as it is helpful.