Leofwine_draca Another in the surprisingly popular sub-genre of Spaghetti Easterns, this film offers everything you can expect from the great title: tons of cowboy-on-kung-fu-expert action, violence, and sweaty manoeuvres. Whilst hardly a high budget exercise in thrills and spills, the straightforward plot and emphasis on non-stop action in favour of characterisation and scripting hangs heavily in this film's favour. Basically, the story concerns a couple of Chinese brothers who are chasing each other to have a fight, thus proving their supremacy. But before they can finish their battle, they become enemies of one of those clichéd outlaw gangs of bad guys, the kind who spend all day shooting innocent townsfolk and being rowdy in the bar. After the initial set-up, much of the film consists of action with a little suspense in between.In order to combat the enemy's gun, one of the Chinese guys has a throwing disc which he can injure the bad guys with, making for some fun - if implausible - moments. The violence involves a little bloodshed here and there but certainly isn't in the same league as the gruesome FIGHTING FISTS OF SHANGHAI JOE. Action-wise, the film entertains although there isn't anything particularly special here, aside from the truly strenuous fifteen-minute combat which finishes the movie. Production values are low but adequate. The acting is either non-existent or over-the-top, but despite the actors being some of the ugliest I've seen on screen there are some tense moments between the cast members. Bad guys include William Berger who gets to do kung fu for the first and probably the last time in his career and Donald O'Brien. The martial arts fights are basic but fun. Overall, this isn't a great film, but there isn't anything majorly wrong with it and it hits the spot more often than not.

rmahaney4 When I first saw this movie a couple of years ago, I considered it the second worst spaghetti western of all time, second only to the mind-blowingly bizarre Cipolla Colt (1976). However, on a second viewing I think that I was wrong. First 50 minutes of the movie are awful, about as crudely executed as it is possible in a film. Amateurishness was really common in the bottom-shelf euro-westerns of the 1970s. Given the self-consciousness of style that was so central to genre and the excesses in character and situation, this led to some mind-bending weirdness from directors like Demofilo Fidani or Gianni Crea. In other instances it is simply boring, which is the case with this film. Man Yi Yang was prolific producer, but he only directed three films in his career. The lack of experience is obvious.However, the finale, with a long cat-and-mouse scene reminiscent of For A Few Dollars More (a standard situation in the genre) and a long kung fu dual between the brother, Angelo (William Berger!), and Dragon (Kang) is actually pretty entertaining and decently executed consdiering the poverty of the production. The terrible, stereotypical "Chinese: and "Western" music from the beginning of the film is replaced by a better, eerie score that sounds like something that escaped from a slasher giallo. The shots are less static; the acting even improves marginally. The rest of the movie was just filler.Not nearly as good as the ultimate kung fu western, Il mio nome è Shangai Joe (The Fighting Fist of Shanghai Joe, 1972), it is still not a bad diversion for genre fans as long as they are willing to sit through the first bad half (maybe with a few laughs at the movie's expense). Whereas Il mio. . . was directed by the Mario Caiano who was experienced in making westerns, this movie feels a lot more like a standard bottom of the barrel 1970s kung fu movie. While Il mio. . .is the better movie, Kung Fu nel... has a rawer kung fu finale.It does shares an interesting focus on racism in American which provides the fulcrum for the plot and the justification for all of the stylisitc violence, a focus which is not unique in spaghetti westerns. Movies like Day of Anger (1967), The Price of Power (1969), and many others share this theme, though the racism is variously focused on Mexican peasants, African-Americans, Native Americans, Chinese immigrants, outcasts of various sorts (Day of Anger (1967), or even Anglos (in The Return of Ringo (1965)0. This trend probably started with the use of the Old South and its ethos as a setting for a number of early Italian westerns such as The Hellbenders (1966). William Berger and Donal O'Brien both of which starred in a number of spaghetti westerns. They appeared with each other in the excellent Keoma (1975).It is impossible to find a good print of this movie currently. I watched a washed, fullscreen VHS copy with Spanish subtitles.Synopsis: Two brothers are dueling to replace the master of kung fu at their school. The match is intense and the brothers attempt to kill each other, at which point the master angrily stops the match. In order to complete the duel, the elder brother Chen (Piao) challenges Chou (Tang) to meet him at dawn at a lake. Instead of meeting him, Chou and their sister flee (Leo), ending up running a Chinese restaurant in the United States. Just as Chen arrives in town, the town is taken over by Steve (O'Brien) and his gang, who work for Angelo (Berger) and Dragon (Fang). Steve's henchmen repeatedly instigate fights with the brothers and are repeatedly whipped until the final confrontation between the brothers, Angelo, and Dragon.

michaelwotruba Incredible mess co produced between Italy and Hong Kong (where the story looked a lot more serious). Two Chinese brothers and the wife of one of them run from China to USA to avoid the vengeful wrath of their gram pa. There, instead, they have to fight a sordid band of outlaws, leaded by another Chinese and a blond white man (a truly boiled Berger, who looks ready to get into the Jess Franco's movies he'll be in). Because of their superior kung fu skills the 3 con defeat any adversary and finally find the peace they've been looking for. Filled with abysmal gags and definitively sunk by the inappropriate financial budget, neither the rigidity of an inexpressive cast, nor an invisible direction can save this from the disaster. The music stolen from other movies and thrown in, more or less, casually it's the definitive gravestone for this unguessable "trash" picture that even Troma would have been careful to distribute.

Sgt.Wolf I saw this movie back in the summer of 91, back when my friend and I decided to rent every movie in the kung fu section. Back then rentals were .99 and because it was VHS, there were a lot of exotic titles. I love watching old campy kung fu movies because they try a lot of innovations, and you can really imagine what its like to make this movie. The film itself I remember having something to do with some Chinese guys in the old west. I remember there were 2 or 3 heros, and one of them had the talent of throwing coins with deadly accuracy. Also there is some weird love scene in the movie which looks like a rape but isn't one. One of the innovations in this film is the closeup reaction shot. A person has a perfectly straight face, and then acts surprised, but only changes face expression. Its hard to explain, but its a laugh to watch. Another innovation is the warping of locations. During the fight sequences a guy will often kick the other guy, and they will end up in a completely different location, I think one fight went from a field into a town, and then into a river. I've seen so many movies since 91, but this movie which I've only seen once left such a lasting impression on me, i'd really recommend it for people who enjoy campy movies. Movies like this are campy but still fun to watch. I'd pick this movie over anything with crazy jet li style wire fighting any time.