(Lee, who was born in San Francisco but grew up in Hong Kong, speaks with a beautiful Hong Kong English accent.) It has an extravagant villain and involves international skullduggery at a martial-arts tournament on an island fortress near Hong Kong. The movie is one of those lurid '70s spectacles in the tradition of a James Bond thriller. We also see him in repose, when he avoids an unnecessary fight (with a sleazy, unworthy opponent). In action, Lee's prancing walk, bared teeth and sucked-in breath, his wicked crotch kicks and strobe- fast blows with hands and feet are accompanied by eerie little vocalizations, yelps and growls, and a megawatt glare.īut the most surprising moment comes at a point when Lee is forced to kill, and what sticks with the viewer is not his body in action but an extraordinary slow-motion shot of the emotion playing across his face.Īt another point, Lee tastes the blood from his own wounds. Its best sequences, and the only real reason for seeing it again, involve Lee's phenomenal physical and emotional presence. "Enter the Dragon" goes far beyond the philosophical, of course. And when there is an opportunity, I do not hit," he says, showing his fist, "it hits all by itself." "When the opponent expands," Lee says, "I contract, and when he contracts, I expand.
It is the same as the lesson in the film. DVD of "Enter the Dragon," also just released in a 25th anniversary edition, contains an interview in which he briefly expresses his philosophy of combat. Before the opening credits, in a restored scene not included in earlier releases, Lee gives a lesson in martial arts to a novice, and the words are not the scriptwriter's.
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