The Circuitous Journey of Circle of Iron

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Let’s begin with what the newly remastered, two-disc “kick ass” edition of 1978’s Circle of Iron is not. Despite the promo blurb, there is very little “kick ass” about this film. It has its moments, but if you’re expecting nonstop martial arts action, you’ll be sorely disappointed. If, on the other hand, you think this film might give you some insight into Taoism, you’ll end up with a few kernels of SoCal pop Zen that might leave you amused, but hardly enlightened.

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Once those two minor issues are dismissed, Circle of Iron (aka The Silent Flute) is an enjoyable, if simplistic parable, best regarded as a guilty pleasure. The protagonist of the film, Cord the Seeker (Jeff Cooper), is a headstrong, undisciplined fighter on an unsanctioned quest to find the Book of All Knowledge, guarded by the wizard Zetan (Christopher Lee). As is usually the case with quests, Cord’s journey to enlightenment is fraught with challenges and perils, all borne, in one form or another, of the trappings of his own ego. It’s sort of Siddhartha meets TV’s Kung Fu.

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Despite its shortcomings, Circle of Iron offers some interesting performances, most notably those by David Carradine, who shines in four separate roles. As Blind Man, he’s an extension of his Caine role, older, perhaps more jaded, but even more predisposed to fortune-cookie bits of wisdom. His portrayal of Changsha, chieftain of a nomadic tribe (who apparently got their clothes from whatever happened to be available in the costuming department), is equal parts greasy biker and crown jester. He’s unrecognizable as Monkey Man, leader of a half-simian, half-human race who are the first line of defense against those who would take the Book of All Knowledge. Here, as in his brief appearance as Death the Panther, his performance relies more on his background in dance than in martial arts.

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Jeff Cooper, who would go on to a stellar, if short-lived career as a Dallas bit player, doesn’t fare so well as Cord. Looking like a cross between a surfer dude and Beastmaster, he romps through his quest with a “whatever, dude” emotional range. Even when he finds his lover from the night before (Erica Creer) crucified the next morning, he can only muster a grim expression before sallying forth on his search for the damn Book.

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Shot in some gorgeous, remote locations in Israel, Circle of Iron manages to evoke an otherwordly atmosphere befitting the nature of the story. Cameo performances by Eli Wallach, Roddy McDowell, and Christopher Lee also save the movie from complete mediocrity.What’s most fascinating about Circle of Iron, though, is the circuitous journey it made from concept to “product.” It was originally penned by the then relatively unknown Bruce Lee, along with James Coburn and Stirling Silliphant, back in the late sixties. Lee at the time was known to American audiences as the Green Hornet’s sidekick, Kato, and he desperately wanted to break into mainstream films. He had an idea for a film, which he called “The Silent Flute,” that he thought might not only propel him to stardom, but would also promote his own vision of Zen and Martial Arts. James Coburn and Sterling Silliphant, both Hollywood names and both students of Lee, helped him flesh out his idea into a script — well, actually, more a treatment, since it was only seventy pages long.

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To make a very long story short, the project stalled for years. Lee was passed over for the lead role (which went to David Carradine) in the Kung Fu TV series because he was too Asian, and departed to Hong Kong, where he became the ultimate action star. Perhaps embittered when he returned to the States, he was no longer interested in the project. He died under still mysterious circumstances in 1973, and in death, he achieved superstar status. Suddenly, his forgotten project was a hot commodity. Five years later, The Silent Flute, now titled the focus group-approved Circle of Iron was released.

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All of this is detailed in this two-disc edition via interviews and commentary with and by the principals. Most informative of these is the interview with Carradine, who considers it his best work, but sidesteps the irony of how he took a role intended for Lee not once, but twice. Besides the interviews, obligatory theatrical trailers and assorted miscellany, this edition also includes the original treatment by Lee and cohorts, reproduced in DVD-ROM, down to the typewritten page. The audio and video reproduction on this widescreen edition are nothing short of superb.

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Circle of Iron, for all its flaws, remains a cult classic. This is a set that is worthy addition to any student of film history. It’s a so-so action film, but the extras provide a glimpse into the machinations of moviemaking, and how compromise rules in Hollywood.