Simply Perfect

Admirable film.

It is not deep, but it is fun to watch. It does have a bit more of an edge to it than other similar films.

One of the worst ways to make a cult movie is to set out to make a cult movie.

Cirio H. Santiago seems to have been a bit of a legendary Filipino director from the period when many cheap and cheerful genre flicks were being knocked out in the Philippines. From the little that I have seen, his output seems to be a guarantee of a good time on at least some level. One thing I have noticed is that he is fond of throwing everything at the screen no matter how disparate, with Future Hunters (1986) for instance he combined a post-apocalypse, time-travel, religious artefacts, Shaolin monks, neo-Nazis, dwarfs and Amazonian women. With the earlier TNT Jackson (1974) he simply combined martial arts with Blaxploitation, which was a tactic he returned to with Fighting Mad, with the added bonus of a vigilante revenge story and Hell in the Pacific thrown into the mix as well. The story itself has a lot going on in it. Three Vietnam veterans steal a cache of gold and then two of them double-cross the third by killing him and throwing him in the sea. Trouble is he doesn't die and winds up on a tropical island inhabited by two Japanese soldiers who are still fighting World War II in the late 70's. They nurse him back to health and train him to be a martial arts expert and samurai sword master. He eventually ends up back home in L.A. and seeks out his ex-buddies - who are now crime lords - for a slice of violent revenge.It would be churlish to complain too much against a movie which has a synopsis like the above. In true Santiago style its attempt to mash genres up does result in something a little bit different for sure. It's full to the brim with fighting, training montages, heads and ears being lopped off, soul singing, 70's hats and Afros. So while it's not always entirely engaging stuff it tries its best to deliver a bit of stupid fun and you really can't argue with that too much.

What attracted me to this low budget Filipino drive-in movie was its premise, that being the tall and muscular actor James Iglehart wielding a samurai sword and slashing his way through the American mafia on a quest for vengeance. Admit it, that premise sounds pretty cool. However, I didn't think that the movie quite lived up to its potential. The main beef I had with the movie was how the first half of the movie played out. It's kind of slow, and almost totally devoid of real action. Some more action sequences in this part of the movie would have greatly helped. However, once Iglehart makes his way back to America and begins his samurai vigilante antics, things do pick up considerably. Some of the fight sequences are surprisingly good, filled with great energy and some very convincing choreography that really makes you believe the participants are fighting for their lives. Weighing the first half of the movie against the second half, what you end up with is an okay low budget Filipino actioner - far from the worst of its kind, but at the same time you'll see potential that was not quite realized.

Doug Russell (Iglehart), McGee (Kennedy), and Morelli (Argenziano) are Vietnam buddies. They're on a boat headed home after finally completing their service - and stealing a cache of gold. The duplicitous McGee and Morelli stab Russell and throw him overboard. Instead of dying in a watery grave, he washes up on a remote island inhabited by two Japanese soldiers (played by Gamboa and Avellana) who have been living there since World War II. The two soldiers nurse Russell back to health, and also train him in Japanese Karate and swordsmanship. When he finally makes it back home to L.A., he has a new set of skills to use on his attackers. And he's going to need them, because McGee is attempting to move in on Russell's wife, Maria (Jayne Kennedy). All Russell wants to do is reunite with his wife and young son, but McGee and Morelli are making it hard for him, as while he was stranded on the island, the two men moved up in the L.A. underworld. Now they control many things, including the club scene, where they have Maria, a singer, blacklisted from performing. That's clearly the last straw, and Doug Russell becomes FIGHTING MAD! Hard to believe, but this is the twentieth Cirio movie we've seen. So we're pretty familiar with his style, and Fighting Mad stands as a solid, snappy entry in his canon. It seems to have a faster pace than some of his other works, and the editing style reinforces that, with no scene ever going on too long. The parallel plot lines of Russell on the island doing his extensive training/what's going on at the home front, and eventually the two coming together, made for entertaining viewing. There's some nice humor to leaven things out, and plenty of 70's style that is extremely visually appealing. Soft focus Jayne Kennedy mixed with giant, boatlike cars reinforce this feeling. As does the scene where Kennedy walks by the famous Rainbow club, and we see that Savoy Brown is playing with Baby, with Man performing a week later. Born Losers (1967) is on a cinema marquee, Fonzie is on the cover of People magazine, and haircuts were only 2 dollars. What a time.Leon Isaac Kennedy (not to be confused with Lawrence Hilton Jacobs or Philip Michael Thomas) plays a good charismatic slickster, and how could you not love his great outfits? Iglehart also shines, along with his non-Japanese compatriots, in the Hell In the Pacific (1968)-inspired plot line. The scene in the barbershop is also a movie highlight, and all his sword work does indeed pay off later, with multiple "fan favorite deaths" following his training. They do indeed get some classic comeuppance! The final showdown between Kennedy and Iglehart features another favorite cliché, the "talking baddie", who continuously says the hero's name as he's trying to bait him to fight. So Fighting Mad contains enough elements in its 90 or so minutes to certainly entertain.A great example of Drive-In action, we can definitely recommend Fighting Mad.

Leon Isaac Kennedy is Doug Russell, an American who steals a shipment of gold in the Phillippines with two Vietnam War buddies, who cut his throat and throw him overboard. Russell washes ashore an island inhabited by two Japanese soldiers stranded there since World War II. They nurse him back to health and he is taught martial arts and the art of the samurai. Back in the States, his treacherous pals, Marelli and Maghee, use their loot and viciousness to muscle their way into Los Angels mafia turf. Maghee sets his sights on Russell's wife, Maria (Leon's real-life spouse at the time Jayne Kennedy), a lounge singer who can't get a gig because Maghee has her blackballed all over LA in his scheme to make her come crawling to him. Russell, samurai sword in hand, hitches a ride on a boat back to America and begins his search for his wife and son; he learns that Marelli and Maghee are the top men in town and he begins slaughtering their cohorts, working his way up the hoodlum food chain. Plenty of action and yucks, including a "touching" montage when Russell is reunited with his wife and son. FIGHTING MAD, not to be confused with the Peter Fonda revenge flick of the same name, is entertaining in a MYSTERY SCIENCE THEATER 3000 kind of way.