Well, not exactly, but this still kicks off Teleport City’s “Cuneyt in June” parade.

There are a lot of fights strung together by scenes of Cuneyt doing manly stuff like sneering at the camera, looking sternly at the camera, looking stoically at the camera, walking stoically thorugh the streets and piers of the city, and for some reason I think we can all understand, playing leap frog with a bunch of bikini chicks on a beach — although his version of leap frog seems to be having the girls squat down in the surf while he trots toward them and sort of kicks them over. It’s all pretty awesome, but nowhere in it will you find Bolo, Carter, or ninjas. That’s where Godfrey Ho and Thomas Tang come into the picture.

At the time, though my friends and I were voracious consumers of any and every kungfu movie on which we could get our hands, we were also operating more or less in a vacuum. Pre-internet days, you know. So while I wanted to know more about the movies I was watching, there simply didn’t exist the resources that would help me complete the task. I learned to recognize various stars and directors, I didn’t have much historical context beyond that I could paste together based solely on movies I’d seen. There was no way for me to tell a Hong Kong film from a Taiwanese film, and no way for me to understand that I should know the difference — I didn’t suspect that the most bizarre kungfu films we were renting were the product of a Taiwanese film industry that seemed to think acid-fueled fever dreams were the best source material for kungfu movie scripts.

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