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“Without seeing it, from music cues,” he said, he could tell that “San Te was fighting with the axe against the monk.” He also noted the subtitles had been revised in this particular film print: “They changed some of them, but I can work with that.” The RZA knows the movie so well that when he was backstage at LACMA’s Bing Theater, he could identify a fight scene just from the soundtrack. But the film awakened a social and historic awareness in him: “Beyond the kung fu, there was something about the reality of the situation.” The story of fighting against an oppressive government particularly resonated with him: “As a black man in America, I didn’t know that story existed anywhere else.” “We’d all be watching the kung fu movies and come out and start fighting each other,” he remembered.
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The RZA saw The 36th Chamber of Shaolin, then called The Master Killer, for the first time when he nine years old, on a local New York TV channel.
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The RZA, looking sharp in a fresh white button-down shirt and dark blue jeans, discussed how he had spent a lifetime studying every aspect of kung-fu movies here are 10 highlights. Then the Wu-Tang’s producer/leader and Elvis Mitchell (curator of the presenting organization, Film Independent at LACMA) engaged in a half-hour conversation about the movie’s influence on the musician’s life and art. First on the bill: a screening of the 1978 Shaw Brothers classic The 36th Chamber of Shaolin, which had a resurgence of popularity in 1993 because of the Wu-Tang debut album, Enter the Wu-Tang (36 Chambers). The Wu-Tang Clan is a hip-hop empire built on a foundation of kung fu movies - and last night at the Los Angeles County Museum of Art, the RZA detailed some of the connections. The Wu-Tang Clan mastermind screened a chop-socky masterpiece at LACMA - here are 10 tidbits from a lively evening