This movie has to be Bruce lee's best film because it has great fight scenes . good acting and a good story i would recommend showing your friends and family this gory kung fu movie from the best actor Bruce lee who did five other movies. Plus there is a lot of blood and gore so not for the squeamish

Fist of all, I have to admit that this movie(THE BIG BOSS) was one of my favorites growing up, because watching Bruce Lee kicking the hell out of his enemies was a great thing back in the days, and still being a great thing nowadays because he is a legend. Know reviewing the movie, I would say that "The Big Boss" might had been the best action movie during its period back in the 20s, but now is nothing compared with movies of this century. Talking about the movie, the hing i did not understand is, if Bruce Lee(Cheng) kept her mother a promise of no fighting again, there is no reason for him to break up that promise just because someone in the Fabrique broke his necklace, I do not thing is a big deal, because he could have fixed it. I think the director did it to make the movie entertained.I do not understand why people disappear on the movie just like that, with no reason, then realize they hide the inside the ice. If people start disappearing, I think the best thing to do is call the police, there is no need to handle the problem by themselves, because that would create more conflict between them and the bad people.

Bruce Lee movie which has some crudeness of production, but overall effect is great. There are some technical misgivings to overcome. I MYSELF, PERSONALLY, appreciate image and sound quality a lot, however am compelled to value movies as stories primarily. The STORY is very Nuanced and Sociological. THis is not an oversimplified action movie. I have heard some people listen to the music and watch the action and deem it a good action movie. My OPINION is that the action submits itself to this story. In LEE's later but perhaps more popular movie ENTER the DRAGON, the Story is very simple, and the action dominates the movie.The acting of Bruce Lee and his regular actors is quite good, some of the bad guy side acting is lacking a bit. The Fighting scenes are SOMEWHAT sparingly done, but all very poignant. The choreography of action is best in the popular world in my opinion. The realisticness of the hits, drama of fighting is fabulous. WHile the general cinematography is decent in this movie, the fight scene camera work, angles, editing, seems to be a science which few have perfected like Bruce Lee to this day. This spectacularness, along with well choreographed moves, sit on a foundation of a well developed story.T H A N K S F O R R E A D I N G ! ! ! !

I first saw "The Big Boss" when I was about nine years old. My older cousin (who had introduced me to Lee a few years earlier) had given me a synopsis of the movie, and like him, I was genuinely enthralled. Unlike him, I hadn't experienced the Bruce Lee zeitgeist of the early 70's and, thus far, had only had real (reel) time with Lee in "Game of Death (1978)". For the better part of two years, I had idolized my hero mostly through photographs and because of this, he had taken on an additional mythical quality. As I slid in the videocassette, I remember a distinct feeling not too dissimilar to the one Indiana Jones must have felt upon finding the Holy Grail. I had lived with this film in my imagination for a child's eternity, and had a pretty good idea of what to expect. What I didn't know, was that the film itself would look and, more importantly, feel almost exactly as it had in my mind. For this reason, among others, "Boss" will always be a little extra special to me.Exactly what makes the movie so compelling? Unquestionably, it's the sheer magnitude of Lee's screen presence - a fact that prompted producer Raymond Chow to offer him the lead role initially intended for James Tien. Upon closer inspection, however, "Boss" possesses a primitive spontaneity and textural rawness that gives it an extremely tangible and visceral quality - a verisimilitude that's not unlike Tobe Hooper's "The Texas Chainsaw Massacre" or Martin Scorsese's "Taxi Driver". From the moment Lee's character, the humble Chinese immigrant Cheng Chao-An, arrives at the Pak Chong dock, right through to the evocative finale where he's hauled off by Thai police, there's a certain sense of reality taking shape. This energy is both kinetic and alive. Cheng is a young man with a troubled past. His newfound home offers an opportunity to seek his fortune through hard manual labor - a trade not uncommon to most Chinese expatriates- and, though never directly stated in the film, his pilgrimage was a result of his rebellious nature back home. Due to his new surroundings, Cheng's demeanor is both respectful and, oftentimes, painstakingly shy, but, there's an innate innocence to Cheng (represented by the jade locket given to him by his mother), and the more we spend time with him, we witness the gradual loss of that innocence. The set up works extremely well, as we don't see what Cheng is capable of till almost halfway into the film. Later, he'll come full circle, and embrace the animal he sought to suppress - the slaughter of his family being cataclysmic for the emotional arc he will experience in his journey.Particularly relevant is the way the violence is explored - uncompromisingly brutal, yet at the same time, strangely purifying. It's as if the violence serves as a confession, paving the way to Cheng's reputation as a muscular, young tiger. In the warehouse, bathed in eerie red light (that seemingly suggests the rage to come), Cheng discovers his cousins corpse. The flood lights switch on and we see: Cheng glaring at a group of thugs approaching; lightning quick, he hurls his flashlight at them - impaling the metal through a man's skull. Using every weapon at his disposal - including a saw - he systematically goes through each man with what can be described as serene savagery. This Zen-like dispassion has two exceptions: the moment the jade locket is torn from his neck, and the final battle where he puts his fingers through Mi Hsiao's ribcage and then proceeds to chain punch the villain's lifeless body to a pulp. If the broken locket represents the unleashing of the beast then the image of Cheng collapsing on top of the Mi's corpse is the exorcism of that beast.A major theme that separates "Boss" from Lee's subsequent films is its use of sexuality. Indeed, sex almost takes on its own character in the piece and abstractly mirrors the intensity of the violence. For the first (and only) time we see Lee sexually charged and uninhibited on celluloid. Eroticism runs through all of Cheng's relationships with women: borderline incestual with Chiao Mei, a flirtatious school boy crush with the girl at the ice stand and….promiscuous with local prostitutes - the latter of these two encounters was included in the original mandarin print of the film. In the deleted scene, Cheng, having made his decision to take vengeance for the murder of his family, returns to the town bordello. In direct contrast to his earlier encounter with Miss Wuman, he's straightforwardly aggressive - pushing the second Thai prostitute roughly onto the bed, and fully disrobing in front of her. Cheng's naked body becomes a symbol of the sacrifice he'll make to avenge his family, and his act of sheer pleasure with the prostitute represents his spiritual rebirth into the animalistic warrior that we witness during his fight at the Boss's mansion. Equally profound, is his departure from the room - specifically in the way he pays the prostitute for her service - delicately placing the last of his money on her belly while she sleeps. There's a sensual gravitas and a prevalent solitude that linger as Cheng leaves the room. The scene was later removed in an effort to preserve Lee's screen image, following his designated status as a cultural hero and role model to the Hong Kong and South-East Asian audience.