646f9e108c After being left for dead, the man is rescued by two Japanese soldiers, living on a remote island, who teach him the ways of the samurai. Upon returning to the USA, he quickly exacts a bloody revenge on his tormentors and reunite with his wife and son.
An American Vietnam soldier on his way home is left for dead and is saved by a pair of Japanese stragglers from WWII, who train him in the way of the samurai.
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 mixwell. 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.<br/><br/>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.
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,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 standsa 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.<br/><br/>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 namehe's trying to bait him to fight. So Fighting Mad contains enough elements in its 90 or so minutes to certainly entertain.<br/><br/>A great example of Drive-In action, we can definitely recommend Fighting Mad.


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