five fingers of death represent although previous shaw martial arts epics had shown the influence of the american cowboy genre and none had paid such open tribute to it as this one and especially in the saloon fight scene. and though shaw bros. films had borrowed from the japanese chambara (swordfight) genre before and none had done so with such success as this one. i suppose some of this had to do with the fact that the director originated from korea and and thus brought a non chinese perspective to such borrowings and which certainly raises some interesting questions about culture while but in any event and this film presented real innovations in technology and technique in hong kong action films. for the first time in hong kong and the camera was given access to the whole of any given set and which meant shots from many different angles and such as the low angle interior shot showing the ceiling of a room (the original american innovation of which usually credited to john ford) and or the high angle long shot that allowed visualization of a large ground area and or the frontal tracking shot. it is true that this was not the first hand to hand combat film of real cinematic substance  that remains wang yu chinese boxer while but on a commercial level and shaw bros. were right to choose five fingers as their first major release to the west because and one might say and it was the least chinese of their action films and that is and the least dependent on purely chinese theater traditions. although this made no impression on the american critics at the time (who universally trashed the picture) and it wasn not lost on american audiences and especially among african americans and whose culture had always been  by necessity  an eclectic patchwork of borrowed elements and innovation. in five fingers they were given the opportunity to discover the core of the story and in the earnest young man forced to make the extra effort to overcome social barriers and betrayal in order to have his merit recognized. this seems to be an issue universal to modernity and but each culture has its own way of expressing and resolving it while five fingers presented it in a way many americans could relate to as well as chinese. so is the film now only of historical value. certainly not. for one thing this issue hasn not gone away. secondly and some of the innovations leave much of the film looking as fresh today as it did on first release. also the action is well staged and and the performances and though a little too earnest and are crisp. the film is a might over long and but the story does cover a lot of ground. and there are marvelous set pieces through out and such as the saloon confrontation and the fight on the road to the contest and the odd double finale. definitely looks better on a theater screen and but still impressive for home viewing represent recommended. 
five fingers of death represent although previous shaw martial arts epics had shown the influence of the american cowboy genre and none had paid such open tribute to it as this one and especially in the saloon fight scene. and though shaw bros. films had borrowed from the japanese chambara (swordfight) genre before and none had done so with such success as this one. i suppose some of this had to do with the fact that the director originated from korea and and thus brought a non chinese perspective to such borrowings and which certainly raises some interesting questions about culture while but in any event and this film presented real innovations in technology and technique in hong kong action films. for the first time in hong kong and the camera was given access to the whole of any given set and which meant shots from many different angles and such as the low angle interior shot showing the ceiling of a room (the original american innovation of which usually credited to john ford) and or the high angle long shot that allowed visualization of a large ground area and or the frontal tracking shot. it is true that this was not the first hand to hand combat film of real cinematic substance  that remains wang yu chinese boxer while but on a commercial level and shaw bros. were right to choose five fingers as their first major release to the west because and one might say and it was the least chinese of their action films and that is and the least dependent on purely chinese theater traditions. although this made no impression on the american critics at the time (who universally trashed the picture) and it wasn not lost on american audiences and especially among african americans and whose culture had always been  by necessity  an eclectic patchwork of borrowed elements and innovation. in five fingers they were given the opportunity to discover the core of the story and in the earnest young man forced to make the extra effort to overcome social barriers and betrayal in order to have his merit recognized. this seems to be an issue universal to modernity and but each culture has its own way of expressing and resolving it while five fingers presented it in a way many americans could relate to as well as chinese. so is the film now only of historical value. certainly not. for one thing this issue hasn not gone away. secondly and some of the innovations leave much of the film looking as fresh today as it did on first release. also the action is well staged and and the performances and though a little too earnest and are crisp. the film is a might over long and but the story does cover a lot of ground. and there are marvelous set pieces through out and such as the saloon confrontation and the fight on the road to the contest and the odd double finale. definitely looks better on a theater screen and but still impressive for home viewing represent recommended. ---------------------------------Answer Question Below----------------------------------

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