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There have been numerous attempts to realize all the numerous issues that undermined the efficient functioning of social institutions in China in the 19th century. The country had already become dependent on foreign trade, and its exports ensured a substantial inflow of capital, allowing for rapid development. At the same time, the British realized the remarkable benefits of selling large volumes of expensive opium in Chinese port cities. Given the already existing social and economic issues in such rapidly growing locations, primarily in southern regions of the country, the influx of drugs and drug money exacerbated many of them.
The genre of Opium and the Kung Fu Master does not allow historical accuracy but serves as a representation of the events of the past, depicting the Chinese people as positive and foreign opium as negative, which can be called propaganda. The film reproduces the environment and surroundings in such a way as to help modern viewers realize the various cultural aspects of Chinese cities suffering from criminals and public opium sales (Opium and the Kung Fu Master). In addition, the film shows numerous scenes demonstrating the devastating effects of opium and dens on individuals and society. All the main characters, including them, claim that opium is evil while recognizing its enormous power (Opium and the Kung Fu Master). Moreover, the ability of the Tit-Kiu Sam master to overcome his addiction and restore his remarkable physical strength demonstrates the ability of the Chinese people to overcome serious trials initiated by the British and local criminals.
The movie allows us to understand the wider political issues in China during that period in history and the psychology and ethics of spiritual warriors who were inspired by ancient wisdom and discipline. At the same time, opium is presented as concentrated evil in the movie while leaving several topics uncovered, such as the history of drug use in the region and the emergence of the criminal network associated with it.
Opium and the Kung Fu Master, produced in Hon Kong in 1984, allows us to develop a sophisticated understanding of the complex intertwined cultural phenomena in the region during that period of China’s history. It specifically emphasizes the version of Kung Fu from Guangdong that borrowed numerous concepts from traditional Chinese philosophy. Moreover, the fact that the protagonist is responsible for training the Chinese militia proves the essential role of morale.
Work Cited
Opium and the Kung Fu Master. Directed by Tang Chia, Shaw Brothers Studio, 1984.
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