Kicking Up a Racket Re-released ëIron Monkeyí Gives Donnie Yen Second Chance by Ky N. Nguyen When Asians see Hong Kong actor-director Donnie Yen on the street, they call him "Chen Zhen"óthe character made famous by legendary martial arts star Bruce Lee in 1972ís "The Chinese Connection (Fist of Fury)." Chen Zhen was played by Yen in the popular Hong Kong TV series "Fist of Fury," following earlier portrayals in movies by Jackie Chan and Jet Li. Though lesser known in the West than his peers, Yen is considered to be the rightful heir to Bruce Leeís legacy, according to Lisa Odham Stokes and Michael HooveróFlorida academics and authors of "City on Fire," a recent book about Hong Kong cinema. Yen explained how his hybrid style has been shaped by Lee: "Iíve been involved with martial arts for so many years now. I donít really analyze them too much anymore. Basically, I agree with what Bruce Lee said, that, as human beings, we all have two arms and legs, so there canít really be many different styles of fighting." When American audiences think of Hong Kong action stars, cross-over successes such as Li ("The One"), Chan ("Rush Hour"), Chow Yun-Fat and Michelle Yeoh ("Crouching Tiger, Hidden Drago n"), and Sammo Hung (CBSís "Martial Law") come to mind. Elements of Hong Kong movies have infiltrated world cinema, peaking with the mainstream impact of "Crouching Tiger" and "The Matrix" (both with action choreographer Yuen Wo Ping). Their success has inspired Miramax to belatedly release (with Hong Kong fan Quentin Tarantino presenting) 1993ís cult classic "Iron Monkey," directed by Yuen and starring Donnie Yen. I had coffee with Yen on a mild October morning outside a cafÈ on the Baltimore harbor. Wearing dark glasses and clothing, heís surprisingly small for a larger-than-life screen star. Though courteous, Yen makes very direct remarks. "Itís a really interesting story, how all these people, Jackie and Sammo and Master Yuen, started off in Beijing Opera and have now influenced all of filmmaking," he noted. "Ten years ago, Hong Kong films were a joke to the U.S. movie industry. Now all of a sudden, we are the main influence on how action is done here." The esteemed Yuen Wo Ping is known for discovering Jackie Chan, casting him in 1978ís "Drunken Master." Yuen chose the physically talented Yen as Chanís successor for 1984ís "Drunken Tai Chi (Tai Chi Master)." Acting in films directed by Yuen, himself, and others, Yen has become a superstar in Asia, but his films have been scarcely seen in the United States. (Washington audiences may have seen "Drunken Tai Chi," "Wing Chun," or "Dragon Inn" at the defunct Biograph or AFI.). Earlier this year, TriStar briefly released 1992ís "Once Upon a Time in China II," directed by movie mogul Tsui Hark and starring Yen and Jet Li. Within the small Hong Kong filmmaking community, Hark also produced and co-wrote "Iron Monkey," a story set in the boyhood of the mythical doctor Wong Fei-Hong (subject of the "Once Upon a Time" series and countless other movies). Yuen served as Yenís mentor over the years. Yen recalled their lunch to discuss shooting the famous Shadow Legs Kick scene in the "Iron Monkey." "How can you represent something on screen that is supposed to be so fast that it cannot be seen?" said Yen. "The technique was so well known that we couldnít leave it out, but how could we improve upon what Jet Li had done? Master Yuen had the idea that it was Wong Fei-Hongís father who would do the kick, as if he later taught this to his son. And I thought we could improve on the way it was presented visually. In ëOnce Upon a Time,í Tsui Hark used quick cuts shot from various angles. I thought we could do it all in one shot by manipulating the camera speed and the performances." The camera photographing Yen was slowed down to make his movements appear faster at normal speed. The stuntmen portraying his opponents reacted slowly to accentuate the contrast. "The extra speed seems to be all in my legs," Yen noted. "It worked out pretty well and people seem to like it." Yen has moved beyond action choreography to directing his own films. "Many have asked me how to distinguish between shooting action and drama. Well, I donít. Martial art is a form of expression, an expression from your inner self to your hands and legs. Like all forms of life in our universe. A gesture, a smile, or just walking down the street is an expression. For me, shooting, editing and scoring rely on rhythm." Yenís appreciation of rhythm comes from his study of classical piano, particularly Chopin. "Music and movement are both expressions of the same basic energy. They are like paints used to color the screen," he said. "City on Fire" author Stokes believes, "He is at home in front of and behind the camera. Heís broadening his palette. He is, I think, on the brink Ö" Miramax thinks Yen is the next big thing. The film company sent him to a recent GQ magazine photo spread of Hong Kong action stars. Now based in Los Angeles, Yen is in the middle of a three-picture deal with Miramaxís Dimension Films, having completed acting and fight choreography duties for "Highlander: Endgame" and the forthcoming "Blade 2." Asked what makes his films distinctive, Yen said, "When you watch my films, youíre feeling my heart." His goal "is to stir emotions in the hearts of the audience. Without that, thereís nothing. I want to touch the audience," leaving them "tears, romance and memory." Ky N. Nguyen is the film reviewer for The Washington Diplomat.