KNOCKABOUT follows the contretempts of a pair of brothers, Yipao (Yuen Biao) and Taipao (Ka-yang Leung), as they seek to eke out a living swindling anyone and everyone they can. Shadowing them throughout is a beggar (Sammo Hung) who's also a sneak-thief and who has a pet monkey. The interplay throughout is beautifully handled as the three drifter grifters butt heads (funny especially early on because Biao and Leung aren't even AWARE that Sammo is picking their pockets). Yet again we have some absolutely brilliant fight choreography by Sammo (you can get winded just WATCHING these guys!), and there are the kind of off-the-wall characters we've come to expect from a Sammo movie throughout- the funniest (so to speak) being a pair of EFFEME fatales (two guys) who kick up a fuss at one point. Both Sammo and Biao showcase their outstanding skills in scene after scene. The one and only problem I had with this one was an unfortunate tendency for the subtitles to disappear altogether for periods of time (when they weren't being poorly synched to the action). In all honesty, the action was still easy to follow, but the problem was annoying. Still, a solid ten.

The story stars Yuen Biao as Little John, and his on screen brother Big John is played by Leung Kar Yan. Lau Kar Wing(famous director and brother of the equally famous Lau Kar Leung) plays the villain "Silver Fox".The movie opens with a hilarious con by Big John and Little John that goes horribly wrong when the beggar, played Sammo Hung (who also directed) derails the plan. The two brothers are left hungry and without money after the plan goes bad so they look for another sucker to dupe. They meet Silver Fox, who not only out smarts them, but beats them terribly.The con artist brothers realise that it is yet another opportunity to scam the man, and beg to become his students hoping Silver Fox will pay their bills, give them a place to live, and pay their gambling debts. They succeed. Silver Fox becomes their new "master" and takes care of them, but little do they know, Silver Fox is evil. He teaches the brothers to fight, and they are good. The only problem is that they can't fight without each other. Little John learns to Northern Kick and Big John learns the Southern Fist. Lau Kar Wing a real life practitioner of Hung Gar was excellent and comparatively, the other actors were out of their depth. Things go wrong when Little John learns that his master is not only evil but is also an outlaw and a cop killer. Big John is eventually murdered by the teacher saving Little John's life. Little John vows to take revenge on his old master. He runs into the Beggar, learning that he is versed in monkey Kung Fu. He begs the Begger to teach him, but the Beggar refuses. Little John eventually cons the Beggar into becoming his teacher. Apparently he's learned nothing from the death of his "con" artist brother. The Kung Fu lessons are full of insults and abuse. The Beggar and Little John don't particularly care for one another and Little John already seems to be over the death of his closest brother. Yuen Biao is nimble enough, and his acrobats are nice. But the monkey Kung Fu sucks. If you want to see excellent "Monkey" Kung Fu, go watch MAD MONKEY KUNG FU, better story, better stunts, better acrobats, and better training sequences.Yuen Biao is nothing short of amazing though and he is clearly skilled as history would dictate. But his Kung Fu skills (in this movie) are too slow, and choreographed. Sammo Hung as a director is terrible. He uses camera tricks to make the actors move faster, and to cover the fact that some of the moves are lacking. Yuen Baio and Leung Kar Yan move like they're counting numbers "1-2-3-left" arm throw, it's very slow and contrived to me.I can tell that Leung Kar Yan had no formal martial arts training, and Yuen Biao of course is very good but the choreography didn't do him justice. Plus, the students didn't care about their master, and in the end, Yuen Biao and the Beggar barely liked each other.These student-teacher relationships are all about respect but this silly movie failed to capture the essence of these important relationships.I will say that, Knockabout was very funny, and it did make me laugh. So I think fans of Yuen Biao and that other guy, Sammo Hung will enjoy this movie. I'm no fan of Sammo Hung so I didn't but Yuen Biao and Leung Kar Yan did just enough to keep me entertained. Ultimately, it was forgettable.

Yuen Biao never got the acclaim that his Peking Opera brothers Sammo Hung and Jackie Chan obtained (all part of the Seven Little Fortunes), but for martial art movie fans he is still widely appreciated. His breakout in the Hong Kong film industry was his first starring role in Knockabout in 1979. Of course, it helped that the director was Sammo Hung Kam-Bo, but Yuen's reputation was solid for his years of stunt work, being an extra and doubling actors for dangerous or acrobatic scenes (he would continue to do that after this film). This film is full of under-appreciated martial artists and performers though.Knockabout is the fourth film directed by Sammo Hung and is one of the many hybrid Kung Fu comedies (Mo Lai Tau style) produced by Golden Harvest that were popular in the late 70's Hong Kong like Drunken Master (1978) and Hung's earlier film Enter the Fat Dragon (1978). While it was not the resounding success that Drunken Master was, it has had a resurgence in popularity the past few years.Biao stars as Hei Yu (also called Little John in the subtitles) as a congenial con-artist with his brother Big John (Leung Kar-Yan: Warriors Two, The Postman Strikes Back) who have to cheat or steal to stay fed. After a successful scam on a cheating gold exchange cashier (working off the old adage that the best people to con are the ones who think they are conning you), they decide to gamble their profit at the local casino. They are quite unsuccessful at it and get beat up when unbeknownst to them they try to fool a gambling house with fake money. But like the consummate con-men they are, if they fail once, they will look for another mark. The new rube is an elderly man (the not-so-elderly and underrated Lau Kar-Wing who is mostly known for being the brother of Lau Kar-Leung, though he is an excellent martial artist who has appeared in many supporting roles) who is eating at the local teahouse. Their set-up fails miserably and so they set to take revenge on Jia Wu-Dao by ambushing him. Of course, he just happens to be a Kung Fu master. After they get beat up they ask him to be their sifu. He eventually acquiesces, but there seems to be something mysterious and sinister about him.There are a few problems with the film. Karl Maka's role as the bald inspector reminds me too much of a clone of Dean Shek. The composition of the film is unbalanced. It starts mostly with comedy for the first 50 minutes and then ends heavily with action. I liked both elements, but the cohesion of the two did not quite work as a whole. The plot's biggest weakness is the inevitable turn of Jia Wu-Dao against his pupils. You knew it was going to happen, but it felt forced. And the prolific use of lifting copyrighted material for music continues with the cue for the Fat Beggar lifted from Ennio Morricone's score in The Good, The Bad and The Ugly (1966).Luckily, there is so much to like with this movie. Biao and Leung work well together as brothers and would continue to work with Hung on later films. The portrayal of Jia Wu-Dao by Lau Kar-Wing is interesting because he is not a one-dimensional character. He cares for his adopted pupils and trains them well in martial arts (every good teacher always hides something from his students though). This makes the character change more shocking, but also makes it feel less real. I enjoyed the comedic touches like the overly flexible Yuen Biao (that is not his leg) and the ordinary men they look to beat up.However, the best parts of the film are the training and martial art sequences in the last half of the movie. These segments are so strong that you tend to forget the somewhat meandering and mostly comedic nature of the previous scenes. The training involves some of the more masochistic devices to help, and I will not spoil them here. I will state that you get to see Biao show off his abilities with his excellent forms and most awesome somersaulting ability. The fighting scenes include an excellent team match between Seven Dwarfs (Lee Hoi-Sang: bald as usual), Snow White (Wang Kuang-Yu: The Water Margin (1972)) versus Little John and Big John. Also, I think you might enjoy the "finishing move" of Jia Wu-Dao. I am not sure I've seen much use of this professional wrestling move in Hong Kong cinema, but I have seen The Rock use it many times. Also, in the tradition of saving the best for last, you get a 12 minute fight sequence at the end that is sublime in its intestinal fortitude.Sammo Hung was not only the director and a supporting actor in this film; he is also the action director (fans of the auteur theory should take note). His knowledge and presence help make this one of the underrated classics in martial art cinema. The competition between him and Jackie Chan during this time period helped create more intricate and daring martial art scenes for there movies. With Knockabout there is one of the best martial art movie sequences of the 70s. Knockabout is a must watch for devotees of this genre and should be a good case study for future action directors on how to choreograph. Knockabout also shows you the skill of Yuen Biao and why he should be regarded as one of the best martial art actors of the 1970s/80s.

"Knockabout" is a prime example of all the virtues of old school kung fu movies. It has cool characters, comedy, seriousness, a classic type of story, and loads and loads of great fighting and training sequences (especially, of course, towards the end). And it has these elements in such gold standard versions that it comprises a superb representation of the classic Hong Kong martial arts movie genre."Knockabout" brings together three of that time's top names in the world of kung fu movie-making, Sammo Hung, Ka-Yan Leung and Yuen Biao. Sammo Hung and Yuen Biao went on to do many movies with Jackie Chan, and actually Ka-Yan Leung's comedic role in this movie could well have been played by Jackie Chan. But I guess, at the time (1979), Ka-Yan Leung was a hotter name. This is the first time I've seen Ka-Yan Leung in a comedy role; he's usually very intense and serious, and often even bitter (see "Lightning Kung Fu" and "The Postman Strikes Back"). So this is quite a change. He pulls off the comedy part very well indeed, demonstrating that his acting range isn't limited to one kind of role.The main reason Ka-Yan Leung's such a hot property, however, is his marvelous kung fu skills. In "Knockabout" he and Yuen Biao are a couple of thieving brothers who're pretty good at kung fu. But when they encounter a guy they can't beat, they beg to become his students. And indeed, he teaches them to become so good that (as he tells them) "ordinary people" are no match for them. So, the happy-go-lucky brothers promptly go out in search of some "ordinary people" to test their new skills against. They find a bunch of extortion racketeers at the local marketplace, who, when asked who they are, claim to be "merely ordinary people" - and then, of course, the fighting breaks out! Very effective comedy.Sammo Hung plays a beggar/thief who follows the naive brothers, consistently fooling them out of half their loot. When their newfound master turns out to be a bad guy who only trained the brothers in order to fight off his enemies (who were using combinations of styles that no one person could counter, but two could), Sammo's the only one who knows enough kung fu to beat him. And that's leaving out a *lot* of details! This is a very good movie with a good story, but parts of it are not as entertaining as it could be. The seriousness is *too* serious, considering how wacky the movie's comedy dimension is, so it comes off as not being very well balanced.I rate "Knockabout" an 8 out of 10. It's among the really good ones, although one movie with a similar cast that is even better, is "Prodigal Son" (1982), which I rate a 9. (9 is my top rating for movies without several layers and other exceptional qualities, like aesthetic cinematography, etc. So far, the only kung fu movies I've rated a "10" are "Crouching Tiger, Hidden Dragon" and "Hero".)