Film and Literature

Steve Oedekerk's Kung Pow: Enter the Fist was not a movie that defined its audience, nor a generation. It was not a movie that changed America, nor the world. It was little more than nothing in the eyes of the media, and was commercially a box office flop. But there's something about it that has always appealed to me, and it has been my favorite movie since its inception in 2002. Looking into its context, I find it really is a striking marker of genre and pop culture, and I believe the primary reason for its failure was a severe lack of advertising. That in itself is very interesting when you compare it to other heavily advertised films of 2002 (Lord of the Rings: The Two Towers, Spider-Man, and xXx, to name a few), all of which are arguably less watchable than Kung Pow. Realistically, just about everything is arguably less watchable than this cinematic triumph.

To elaborate, if you haven't seen it (for shame), Kung Pow was conceptualized after Oedekerk's earlier productions, namely those short thumb lampoon series, with particular attention being paid to Thumb Wars, which you can go ahead and watch on YouTube for free. You won't be sorry (probably). His unique approach to editing key facial features onto thumbs and the like would spark his unique interest in putting things where they just don't belong in a parody setting. Footage taken from the classic 1976 film Tiger and Crane Fist was edited, replacing scenes containing Jimmy Wang Yu with Oedekerk himself. This takes the initial genre, which was unmistakably action/kung fu, and turns it into a parody of itself, becoming a comedy, though much of the footage (and even many of the original lines of dialogue!) remain the same. To this end, it's most defined by the limited selection and appeal of comedy kung fu movies (Shaolin Soccer, Kung Fu Hustle).

Where the film is constrained using a limited budget and technology, using very basic green screening techniques as well as limited 3d animation, it makes up for what it lacks through clever(ish) writing and an overall goofiness not replicated (or appreciated?) anywhere else in the world of film. For example, it's approach to in-film advertising, an example of which can be seen here, is in my opinion, pretty daring, and has undoubtedly influenced television shows like Arrested Development (have a look here for Burger King) and I'm sure a number of other programs scripted by the equally bold. It's effective, and ditties like that stuck in your head, to be assured.

While it's obvious this film is not for everyone, it has a reasonably large die-hard fanbase still waiting for the promised sequel who still enjoy the first film in its entirety, line for memorable line. It may not have set any real standards for film, but its place in film can't be ignored, though it is only on a small scale. I'm sure the sequel were to be made today, it would follow a similar low budget formula and be met with the same sort of (mostly negative) reaction. It was made in 2002, but I think even now, it's really a movie ahead of our time. You'll see.