As a child, one of my first and best friends was a strange boy who worshiped the ground Bruce Lee walked on - cutting his hair, taking Jiu Jitsu and Hapkido lessons, and often stalking around with that intense animal fury that only Lee could create all over his 7 year old face. My friend took a lot of abuse for this and other odd behaviors with dignity that his hero would have applauded. Unfortunately, Mr. Lee passed from this world very young, leaving a legend and a pair of shoes that have never really been filled. For most Americans, this is the only Hollywood film worthy of mention with his name in the cast. Don't get me wrong, I love Jackie Chan and Jet Li and even the few Chow Yun Fat roles involving martial arts, but each of these actors have their own, very big, personalities, and - at least in the case of Chan - have built their own unique legend. Unlike his successors, what Lee excelled at was the intense physicality and drama of his performance. He worked every muscle of his body in every beautifully choreographed fight scene of Enter The Dragon, and made art out of violence in ways that today's Hollywood gun violence schlock-directors can only dream of. And Enter the Dragon is one of his most stunning vehicles.The pseudo-Taoisms are kept to a minimum and concentrated near the beginning of this film. Lee enters a martial arts tournament to avenge the murder of his sister, and to defend the honor of the Shao Lin Temple, where he helps to train young martial artists. John Saxon, a down-on-his luck playboy and brigand is the closest thing to a co-star, and comes to the tournament hoping for a solution to his financial problems. The tournament is hosted by a mass-murdering heroin manufacturer who hides his production facilities, literally, beneath a martial arts school, using the instructors and students in the school as an army of body guards. Kien Shih is absolutely compelling as the evil Han, even if his fight scenes are, at times, a bit less convincing than the master Lee's. Lee and Shih are the performance highlights of the film. Though Saxon does a passable job, his performance is a bit fibrous at times.Worth seeing for the sets and settings alone, this film is driven well by its fast pace, simple but engaging story line, and the sheer talent of Bruce Lee. Of course, there are the usual problems of the martial arts genre - villains whose sense of honor for the most part only applies to life-threatening situations fighting would-be heroes, the lack of any weapons besides fists and unused knives, unnecessary nude scenes - it is very easy to overlook these problems and just enjoy the film.Highly recommended.
I first saw this in the late 80s on a vhs. Then again in the early 2k on a dvd which I own.Revisited it recently with my family.This time Lee plays a martial arts instructor who is approached by the British Intelligence and is persuaded to attend a martial arts tournament on a private island owned by Han, a crime lord.Lee's assignment is to gather evidence that will prove Han's involvement in drug trafficking and prostitution.The movie has amazing star cast, few top notch martial arts fight scenes n wonderful music score.This one is not as intense as Fist of Fury but very entertaining.The villain Han is not intimidating or a convincing fighter yet he is able to take down the character of Jim Kelly.We have Sammo Hung in an uncredited role in the opening fight scene against Lee at the start of the film.Enter the Dragon along with Game of Death were the foundation for fighting games. Both these movies inspired various martial arts n action movies.We also have Bolo Yeung before he became the usual villain in JCVD's movies.In Fist of Fury, Lee's character bites the leg of a Russian fighter during a duel.In this movie John Saxon's character bites the leg of Bolo Yeung during a duel.
Lee (Bruce Lee) is a Hong Kong Shaolin martial artist. His master tells him about a former student Mr. Han who has turned into a crime lord on his own private island. British agent Braithwaite sends Lee to a tournament run by Han. O'Hara is Han's menacing henchman who pushed Lee's sister to her death. Mei Ling is an agent on the island but the agency has lost contact with her. Roper (John Saxon) owes money to gangsters and his 'nam buddy Williams (Jim Kelly) is on the run from racist cops. Both end up entering the tournament.Bruce Lee continues as a charismatic star with superior action skills. The fights are fun. John Saxon proves to have some good fighting skills while Jim Kelly has a big enough personality to be a compelling actor. It has some slower aspects and the story is pretty simple. Overall, it is a well made action thriller with some great fights especially considering the era. It is a standout among Kung Fu B-movies with many imitators to follow.
Furthermore, the political situations in Europe had significant effects on Irano-Japanese relations. Reza Shah had close relations with Nazi Germany and shared its anti-communist policy. Japan also concluded an anti-communist pact with Germany in 1936. Thus, it was quite natural that the two governments sought closer ties with each other. In 1938, Iran offered to conclude another treaty with Japan, and after negotiations on 18 October 1939, the Irano-Japanese Treaty of Amity was signed by the respective representatives (Center for Asian Historical Record, AO3022678600). World War II had already begun by then, but the situation changed drastically when Germany invaded the Soviet Union in June 1941. In August, the Soviet and British armies invaded and occupied Iran, and Reza Shah abdicated. Japan, which had concluded the Three-Power Pact with Germany and Italy in September 1940, entered the war with an air attack on the United States base at Pearl Harbor in Hawaii on 7 December 1941.
In Japan the Edo Shogunate (1603-1867) forbade any visits or trade with foreigners other than those from China and the Netherlands. According to the decree of 1635, the Japanese were barred from traveling abroad and, according to the decree of 1639, the Portuguese were forbidden to enter the main islands of Japan. It was only in 1854 that relations with foreign countries were resumed. This process gathered pace with the advent of the Meiji period (1868-1912), when the Japanese were allowed to go on official visits abroad. In 1929 formal diplomatic relations were established between Japan and Persia.
On September 10, Inoue arrived at the small Persian port of Mašhadsar (later Bābolsar) on the southeast shore of the Caspian Sea (Inoue, p. 194); this was on the sea route from the Russian harbor Krasnovodsk on the east shore of the Caspian Sea. It was a daring venture to take this obscure route to enter Persia. He crossed the Alborz range and arrived in Tehran on September 15 (Inoue, pp. 229, 333). Inoue stayed in Tehran for five days; he lodged at a hotel under British management, where both Fukushima and Ienaga had also stayed, in 1892 and in 1899 respectively.
After Japan entered World War II, Iran broke off relations with Japan, and they were restored only in 1953. However, economic ties had already resumed in 1947, and there were small numbers of Iranian traders, especially carpet traders and their families, residing in Japan (Inoue, p. 215). Iranians who stayed in Japan were historically limited to traders, students, skilled workers, and temporary residents who worked for Iranian companies or for the Iranian government. Most of them were highly educated people with relatively high income, and their number was not considerable before the Islamic Revolution of 1979. Records from the Japanese Immigration Office show that there were 76 Iranians in Japan in 1964, 187 in 1974, 543 in 1985, and 1,237 in 1991. Among them were members of well-known and rich Iranian families, but, even though they knew each other, no particular association or community of Iranians existed in Japan.
Many of the Iranian workers had little knowledge of the Japanese language or Japanese culture and social system, and there was no suitable Iranian community to guide them. Therefore, they used public parks in the center of Tokyo, such as Yoyogi Park or Ueno Park, to communicate with each other, to get information about work, housing, and shopping, and to receive news about their home country (Morita, 2003, pp. 161-62). Some Iranians, after losing their jobs, would spend their nights in Ueno Park. Every Sunday these parks became full of Iranian workers. In contrast to the Chinese or Koreans, the Iranians were easily recognized as foreigners, and their presence made foreign workers a visible reality for the Japanese. The majority of the Iranians worked in small businesses and factories in the suburbs of Tokyo. However, a small minority began to commit crimes, such as selling fake cell-phone cards or drugs in the parks. Because the Iranian workers were the latest foreign workers to come to Japan, their working conditions were worse than those of other foreigners. The media treated Iranians especially as the symbol of illegal foreign workers at that time, and controversy among the Japanese about the acceptance of foreign workers heated up (Kura, 2000).
The expedition included Shinji Fukai (1922-85) and his student Katsumi Tanabe (1941- ), both art historians specializing in ancient Persia. Fukai, while directing measurement at Ṭāq-e Bostān, became interested in ancient Persian glass; he turned most of his scholarly efforts to this subject and made two notable contributions to the study of Persian glass and ceramics. Tanabe has published a good number of articles, in both English and Japanese, on the study of Sasanian and Kushan arts, including one on the investiture of Ardašir II and the images of Šāpur I and II, several others likewise concerning Ṭāq-e Bostān, and one on the origin of a Buddhist urn. Tanabe was a research staff member at the Ancient Oriental Museum, Tokyo (founded in 1978), which became a center for archeological studies of Iran in Japan. Another member of this expedition, Yoshimasa Chiyonobu (1937- ), has devoted his efforts to the repair and measurement of all archeological materials collected by this expedition in Iran. He has classified and published the materials from Deylamān and potsherds from Tepe Sialk in two separate parts of a catalogue. 781b155fdc