A bit overrated, but still an amazing film

an ambitious but ultimately ineffective debut endeavor.

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

The movie really just wants to entertain people.

Not convinced that Bruce Lee died by accident, his good friend "David Lee" (Bruce Li) sets out to investigate the real cause of death. His first clue comes from Bruce Lee's mistress and Hong Kong film star "Suzy Yung" (Chao Hsauo-Chun) who has some possible incriminating evidence against a major crime figure known as "the Baron" (Li Chang). But when "the Tiger" (the other name David Lee is known by) begins to get too close to the truth, the Baron becomes intent upon stopping him at all costs and comes after both Suzy Yung and David's girlfriend "Susie" (Kong Sam-Yi) to make his point. Now rather than reveal any more I will just say that the death of Bruce Lee left a very large void in martial arts movies which several different film studios tried to fill--and Bruce Li happened to be one of the actors chosen in that regard. Unfortunately, unlike his famous predecessor, he didn't have the acting ability to really appeal to world-wide audiences and his films suffered as a result. And this particular movie is indicative of that fact as it pales in comparison to any and all of Bruce Lee's films. That being said, I have rated it accordingly. Below average.

Exit The Dragon, Enter The Tiger is a highly irreverent kung fu cash-in that shamelessly exploits the mystery surrounding the death of '70s martial arts icon Bruce Lee, using it as the impetus for a far-fetched storyline involving Hong Kong movie stars being blackmailed into becoming international drug mules. Casually mixing fact with fiction, the film stars Bruce Li as Bruce Lee acolyte Tiger, who, devastated by his master's sudden death, decides to investigate rumours of foul play. Teaming up with reporter George, Tiger learns of an incriminating tape-recording made by Lee's mistress that makes him the target of crime boss The Baron. Cue lots of kicking and punching as Tiger dispatches numerous henchmen to finally face The Baron.Showing actual footage of Bruce Lee's corpse during the opening scenes, and introducing fictional character Suzy Yung as the late star's mistress (presumably to avoid being sued by actress Betty Ting Pei, who was rumoured to be Lee's real-life mistress), ETDETT is undeniably disrespectful to the memory of Lee, but as a fan of trashy exploitation films, I couldn't help but have just a little fun with this tawdry chop socky flick. The acting is atrocious, the story risible, and the '70s decor utterly abysmal (witness the world's tackiest cigarette dispenser!), all of which proves unintentionally amusing, while the martial arts scenes, although somewhat repetitive in style for much of the movie, are at least frequent enough to ensure that the pace never lulls. Towards the end of the film, the standard of the fight scenes improves markedly, with a fun clash between Tiger and a female gymnast in a yellow tracksuit (a nod to Game of Death?) and an impressively staged final battle that takes place on the rocky shore of the South China Sea.

Exploitation cinema exploits audience desire for lurid subject matter, and there can be few more morally reprehensible forms of exploitation than the short-lived "Bruceploitation" genre, which sought to make money out of films pertaining to the death of Hong Kong's box office hit, Bruce Lee. But to call these films on their lack of scruples is to waste breath - such films luxuriate in their own lack of taste. There is an extent to which the whole of drama and cinema is an exploitation of the difficulties of life, and perhaps these films are a little more honest than most. In any case, there was a public need to air concerns gossip and conspiracy theories about Lee's death, and so these films provided a place for such a need to be fulfilled.What is really fascinating about Exit the Dragon, Enter the Tiger is it takes a postmodern notion of everything being up for grabs as fiction and stretches it to rarely reached lengths. A film in which a new film star investigates the death of an old film star, in which an actress plays an actress who was present at the old film star's death, which plays out in the style of the films of the old star's films - it's heady stuff.The investigation into the death of Lee by his pupil and supposed successor Li is a pretty flimsy affair. We never get to find out why Bruce was killed, but Lee's real death provides a basis for a fictional plot about a drugs ring wishing to use martial arts stars as couriers. But it's a pacey enough film, with excellent widescreen cinematography (the framing is particularly impressive) and sharp editing, and if the plot is rather slight and the characterization rather one dimensional - well, we are dealing with a genre (the martial arts film) which is hardly known for its sophistication in those departments. Li doesn't have Lee's presence and charisma, but he's cute and is convincing enough at the centre of some tasty fight sequences.All of the positive elements of the film come together at one moment in the final scene - Li is fighting the drugs kingpin The Baron, who unsheaves a sword-stick and lashes at our hero. Li's shirt is cut off, and bare chested with cuts across his body, he looks just the image of Bruce Lee in a famous scene from Enter the Dragon. The film has been building towards this moment, and all Li has to do is vanquish the villain to take the mantle of his forebear, which he does. No matter that Li didn't go on to nearly the same international success as Lee, and faded rather ignominiously from the screen by the early 80s, this film has done exactly what it intended to do - momentarily replace Lee with a plastic facsimile, air a bit of gossip about his death and make a small pile of money in the process.It's no good expecting anything else of a film like this, and it's as honest about its intentions as can be - and given the low-brow nature of those intentions, a considerable amount of film-making skill and effort has been put into the picture - you have only to think for a moment the logistical difficulties filming the final seaside rocks at incoming tide sequence must have presented to realize that although the filmmakers are exploiters, they certainly weren't slackers.

I'd just like to say, if you listen closely to the music in some of the sequences, you'll also hear Pink Floyd's 'Shine on You Crazy Diamond'. It was quite common for kung-fu in the 70's to use popular music from radio and other movies as main theme's and incidental music. Every now and then you'll hear some Ennio Morricone or some Jerry Goldsmith peice somewhat briefly but still recognizable. One of oriental films' odder attributes.