Behind the Legend: Jackie Chan vs. Jet Li as Kung Fu Hero Wong Fei-hung

A century has passed since the passing of Kung Fu Master Wong Fei-hung, who remained relatively obscure throughout his life.

Po Fung devoted 20 years to studying the life and era of the legendary
master of martial arts and traditional healer Wong Fei-hung
However, \”over the last hundred years, his life story has accumulated layers upon layers,\” remarks Po, leading up to the centennial commemoration of Wong\’s passing this Wednesday, on April 17. \”There aren’t any genuine records, no audio recordings, not even a single photograph of him.\”

The assertion about the lack of photographs is debated, and even the timing of his death is under scrutiny. Nonetheless, there is unanimous agreement regarding the significant impact this individual from Guangdong has exerted on Chinese culture throughout the last century.

As noted by scholars like Po—a distinguished film critic and ex-researcher at the Hong Kong Film Archive (HKFA) who now enjoys retirement in Taiwan—Wong passed away penniless and disillusioned in 1925, unaware that he would later be revered as a legend. Over the past hundred years since his demise, this martial arts master has served as the muse behind an unending succession of novels, comic books, along with over 100 films and TV shows beginning with Wu Pang’s work.
The Tale of Wong Fei-hung, Chapter 1
, which was released in Hong Kong in 1949. In 1978, Jackie Chan took on the role previously played by Wong in
Drunken Master
, Jet Li followed with similar actions in
One upon a time in China
In 1991, and more recently, Eddie Peng Yu-yan had his turn in 2014\’s
Rise of the Legend
.

Are you looking for insights into the most significant issues and global trends? Find your answers here.
SCMP Knowledge
Our latest platform offers carefully selected content including explainers, FAQs, analyses, and infographics, all provided by our acclaimed team.

As an expert in the southern tradition of kung fu,
hung ga
In particular, Wong shared teachings that continue to be adhered to by hundreds of thousands of students worldwide, but “what do we really know about him as an individual?” wonders Po. “We don’t have much information, which seems to allow people to shape him into whoever they desire.”

Many believe that Wong was likely born circa 1847 in the village of Luzhou within the Guangdong province, coming from a lineage with strong ties to martial arts. His father, Wong Kei-ying, belonged to the “Ten Tigers of Canton,” an assembly of martial artists whose expertise and instruction stemmed from the renowned Southern Shaolin temple, purportedly established during the Tang dynasty (AD 618–907).

When he passed away, Wong Fei-hung was locally renowned for his kung fu techniques. Additionally, he had grown his late father’s pharmacy and injury-treatment establishment, Po Chi Lam, into a thriving enterprise, supplemented by an ancillary venture.
lion dances
On festive occasions across the area, this scenario was common. However, this world disintegrated towards the end of 1924, following the suppression of an insurrection by a regional paramilitary group called the Canton Merchant Volunteer Corps by the Nationalist government’s troops. As a result, Wong\’s enterprise and residence were destroyed. Historians recount that Wong rapidly succumbed to sickness and hopelessness, and by April 1925, he had passed away.

Following that, Wong’s narrative simply disappeared,\” states Po. \”He seemed to be quite an insignificant figure within his societal framework back then; however, he did possess numerous followers. This is what initiated the process of legend-building around him.

The plot makes its first significant turn in 1934, when
The Life Story of Wong Fei-hung
Written by Zhu Yuzhai using the pseudonym Zhu Gong, this work joined the ranks of martial arts novels that originated in Shanghai during the early 1920s and continued to grace bookstore shelves.

Frankly speaking, this isn’t a particularly great book,\” states Po. \”The initial chapters seem to draw from tales recounted by his followers, whereas the latter part appears to stem largely from the author’s creativity.

Although likely apocryphal, the book managed to find readership and was later transformed into a widely enjoyed radio drama prior to director Wu Pang choosing Wong for a cinematic adaptation in 1949. By the beginning of the 1960s, over 60 movies had been produced with this character, predominantly portrayed by Wong.
Hong Kong performer Kwan Tak-hing
Over time, this transformation turns a \”reckless hero\” into a much more kind-hearted character, as depicted in Po’s “Mastering Virtue: The Cinematic Legend of a Martial Artist,” published by the HKFA in 2012.

Po states, “This individual wasn’t a warrior; he’d engage in combat only when absolutely necessary. Instead, his focus was on instructing his pupils to cultivate discipline, respect, and honor—qualities that truly reflected societal expectations during that era.”

Among the blockbusters was
Wong Fei-hung\’s Competitor for the Firework Show
Released in 1955, this film became immensely popular and led to an additional 27 Wong Fei-hung movies being produced within the subsequent year. In the years that followed, numerous more films and television series featuring Wong were created; however, although his character was sometimes modified for comedic effect—such as instances when
Jackie Chan
took on the
Drunken Master
played a key role and helped establish the action-comedy genre with the 1991 Tsui Hark epic,
One upon a time in China
, that something shifted.

Played by a young
Jet Li
Wong Fei-hung is depicted as a dedicated martial artist aiming to correct societal injustices and protect his country from threats. This concept resonated with the era’s spirit, leading to six follow-up productions and a TV series.

\”What we\’ve observed over the years is that Wong\’s character mirrors the sentiments of society, thus in
One upon a time in China
We now have renewed confidence, reflecting how things were in Hong Kong back then,\” states Po. \”However, this portrayal shows Wong as a young leader among rebels, and very little factual information exists about him during that period.

Nansun Shi, who collaborated on producing the
Once Upon A Time
The franchise reveals that Tsui conceived the idea for the reboot. However, upon delving into the vast archives, he discovered that very few details were available about Wong’s formative years or events from that period of his life. This realization provided the creative team with considerable freedom. Their investigation into Wong\’s philosophies offered valuable insights into shaping his character.

“I believe this individual was quite open-minded,” states Shi. “His birth coincided with a grim era, the Qing Dynasty, when foreign nations recognized how vulnerable the regime was and sought to exploit China’s resources. The government was undoubtedly frightened as well. As a result, numerous external elements such as trade, missionary activities, and military forces began emerging.”

Many Chinese people tried their best to avoid interacting with foreigners. However, Wong rejected ancient Chinese legends and beliefs. He chose to educate himself on every modern development occurring in his country, ranging from advancements in medical technology to governmental operations. Despite this openness to new ideas, he maintained the conventional Chinese virtues of fidelity, reverence for parents, and deference toward senior citizens.

Regardless of whether Wong really engaged in as many battles as depicted in contemporary portrayals of his life, Po questions this and finds it amusing that a verified incident where Wong truly participated in warfare has yet to be thoroughly showcased in cinema.

Records indicate that he coached the Black Flag Army, a militia established under warlord Liu Yongfu during the Qing dynasty,\” explains Po. \”He taught them combat skills and accompanied them in battles against the Japanese forces that had occupied Taiwan.

The village where Wong grew up, Luzhou, has become part of the expanded Foshan city—one of the rapidly growing urban areas in southern China—where the population has surged from approximately 100,000 in 1950 to nearly 8 million people today.

In 2002, the local administration expanded the Foshan Zumiao Museum, incorporating areas dedicated to the history of martial arts. This expansion features a section honoring
Ip Man, who hails from Guangdong
who taught
Bruce Lee
, and the Foshan Wong Fei-hung Memorial Hall, featuring a intricately carved roof in the Lingnan style, aims to recreate the appearance of Wong\’s residence and pharmacy as they may have been in his time.

In today’s time, visitors can travel from Hong Kong to this museum within approximately 90 minutes using high-speed rail followed by a taxi ride. During a recent weekday afternoon, the premises were bustling with several hundred individuals; some lounged beneath old trees, others meandered through the museum’s various structures including its temples, galleries, and pathways.

Wei Huazhi, who hails from Shandong province but received his education at the University of Macau, proudly shares insights about the museum’s highlights with us as light rain drizzles down.

She remarks, \’This is quite a distinctive spot where individuals have the opportunity to pray at our shrines, obtain blessings, and gain further insight into these renowned figures.\’

Wong-specific exhibitions compile the fundamental information we have about his life, complemented by accounts from those inspired by him. Additionally, these displays explore his impact on popular culture, tracing Wong’s appearances across various mediums including comics and film.

The memorial hall houses a painting found in 1975 and believed to depict Wong. However, it was subsequently confirmed that the subject of the portrait is actually Wong’s fourth son, Wong Hon-hei. Despite this, the memorial also showcases several evocative watercolors created by former national artist Lin Yongkang.

These visuals offer us our closest glimpse into what Wong may have resembled, yet the primary attraction for many visitors revolves around the three daily performances of martial arts and lion dances held in the courtyard before the Wong memorial hall. These demonstrations are carried out by groups affiliated with the Foshan Nanhai Wong Fei-hung Zhonglian Cable Dragon Lion & Martial Arts Association. As expected today, the place is brimming with spectators; nearly 300 individuals cram onto a tiny platform and form a line along the edges, all holding their smartphones aloft, prepared to capture every moment.

Tour guide Wei affirms that this remains consistent each day, with exhibits crafted not only to engage but also inform visitors about Wong\’s heritage.

Li Nianzhong, the chairperson of the organization, collaborates with the lion dance troupes together with Wu Zhongquan, a fourth-generation martial arts practitioner whose ancestry leads back to Lam Sai-wing, a disciple of Wong up until the master’s demise.

Li notes that Wong pioneered innovative approaches to lion dance performances by seamlessly integrating martial arts techniques, featuring impressive aerial maneuvers. This was welcomed by martial artists looking for an additional source of income. His instruction emphasized respect and discipline.

\”Li believes that younger generations can benefit greatly from emulating Wong Fei-hung,” she explains. “Beyond his humility and dedication, he served as an exemplary figure in moral conduct. Working as a healer specializing in treating wounds such as fractures and bruises, he provided medications free of charge to those who couldn’t afford them and did not charge these patients for his services. Furthermore, as a skilled martial artist, he stood up against bullies protecting the vulnerable. Additionally, Wong Fei-hung earned recognition as a patriot through his efforts alongside Liu Yongfu, head of the Black Flag Army, in combating Japanese aggressors in southern Taiwan.”

Following Wong\’s demise, his fourth wife, Mok Kwai-lan, found herself impoverished among his four spouses since everything had been depleted during the uprisings in Guangdong. Yet, Mok was also skilled in martial arts like her late husband.
mok gar
Mok practiced a style of Kung Fu and managed to earn a living by imparting her expertise. Eventually, she found shelter when a group of her late husband’s followers from Hong Kong extended their support. In approximately 1936, Mok established both a martial arts academy and a Po Chi Lam orthopedic clinic. The facility remains operational today in Shau Kei Wan among the few surviving old buildings, sustained by the dedication of the octogenarian Li Chan-wu.

Mok, who passed away at the age of 90 in 1982, took Li under her care and shared with him her expertise in martial arts and bone-setting techniques. “She asked me to refer to her as my mother,” recounts Li, perched on a wooden bench beneath a large portrait of Mok.

Following the Second World War, my family faced difficult circumstances,\” states Li. \”Since my mother was ill, Mok took me in and raised me as her very own child. A part of what Wong Fei-hung imparted was the importance of mutual support among people, which is precisely what she did.

Mok, who was featured in the 2011 TVB television series
Grace Under Fire
Was based, instructed the young Li in her martial arts, yet seldom spoke of her spouse, an omission that suited Li just fine.

His techniques and philosophical approach to martial arts are well-known to us,\” states Li. \”However, very little information exists about the man himself. Perhaps this is what makes him a hero—because he has the potential to embody whatever image we wish to project onto him.

Leave a Comment Cancel Reply