The first karate fight in an American movie
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The first karate fight in an American movie
Sat 29th Jul 2023 13.30 BST
Within the history books of Hollywood, there have always been films that stand as boundary-breaking anomalies. These movies have reshaped the cinematic landscape by introducing new themes, techniques, or motifs. From the bullet-time sequences of The Matrix to the iconic lightsaber duels of Star Wars, these defining moments have left an indelible imprint on the industry. Among these revolutionary landmarks is the introduction of the martial arts fight scene – a motif that has since become a staple in action cinema.
Karate, an ancient martial art rooted in China, has found a home in the heart of American cinema over the years. Its precision, elegance, and dramatic intensity made it a natural choice for the big screen. From Bruce Lee’s stunning athleticism to Jackie Chan’s impeccable choreography, karate fights have provided some of the most exhilarating moments seen on the big screen. Despite their now commonplace nature, these scenes were once a novelty for American audiences – and a far cry from the clumsy, awkward fistfights audiences had previously seen in the likes of Star Trek.
However, the watershed moment in American cinema came in an unexpected feature – a gripping political thriller set against the backdrop of the Korean War. The Manchurian Candidate, masterfully directed by John Frankenheimer, features a plot steeped in paranoia and psychological drama, acclaimed for its stark portrayal of manipulation and mind control. Strangely, it provided the perfect setting for the unprecedented introduction of a new fighting style in Western cinema.
The film traces the tortuous journey of a war veteran returning from the Korean conflict, leading audiences down a path of disturbing revelation. The unsuspecting protagonist, played by Frank Sinatra as Bennett Marco, is discovered to be a sleeper agent – he’s been brainwashed and turned into a deadly weapon by Communists.
In a standout scene, Sinatra’s character fights with Henry Silva’s Chunjin, marking the debut of a martial arts battle on the American silver screen. While the sequence doesn’t hold up remarkably well now, vastly trumped by East Asian cinema at the time, it nonetheless provided unexposed American audiences with an entirely new way of depicting physical confrontation. With its precision, its necessity for different stances, and its emphasis on defence as much as offence, the fight in The Manchurian Candidate opened cinemagoers’ minds to what fight scenes could be.
The fight’s vivid depiction was a drastic departure from the rest of the film, but it actually enhanced the narrative tension. This stark contrast between the calm yet eerie political-noir suspense and the sudden burst of high-octane action made the scene all the more impactful. It wasn’t just a fight; it was a symbol of the struggle the protagonist was undergoing, a battle not just with his adversary but his manipulated psyche.
The Manchurian Candidate remains a beacon of innovative filmmaking, having introduced the American audience to the dynamism of martial arts. This trendsetting addition changed the face of action sequences, paving the way for martial arts’ integral place in the world of American cinema, and, as strange as it sounds, you’d be hard-pressed to find a modern action movie that hasn’t taken its cues from Sinatra doing karate.
https://faroutmagazine.co.uk/first-karate-fight-in-an-american-film/