Sunday, 2 April 2017

Movie review



In 1990s, the series of Young and Dangerous is very famous in the whole asian movie industry, because in that period of time, their budget, unique style of filming and the story structure are in very high level. As a same time, the story might somehow discover or reflecting the secrete of Hong Kong underworld which increase more people attention. However, once the series ended, the genre of the major movie industry changed from the mob film to the police procedural.
Therefore, I am going to choose the recent Hong Kong mob film, Mobfathers, as my film review topic.

Mobfathers is directed by Herman Yau and released in Hong Kong on 31 March 2016. It can be listed as the independent film. When compare to the series of Young Dangerous, Mobfathers is very low cost production. The starring is Chapman To who is the actor that always expressing his personal opinion and political philosophy, in 2014 he supports Umbrella Revolution on Facebook which made the China Government upset and designed to block every single movie that he film to released on China. And I believed that, duo to the small budget and the whole production is not related to any China production studio, the director can able to express his own feeling freely, the topic and the meaning behind of the movie can be no restriction.

The story of the Mobfathers is very straight forward. The five leading gangs have to nominate three candidates to elect the Mobfather of the underworld, therefore the three candidates have to maximum their power by any means to gain the trust of the leading gangs, and hope at the end of the election, they can be the elected by the five leading gangs. When I watch the movie, I am focus on the details of the script more than the story line, because I believed that this movie is somehow reflecting the nowadays Hong Kong situation. In Hong Kong, as the candidates of the chief executive have to gain trust by the 150 nominations from the 1200-member Election Committee, in the movie, when the five leading gangs discuss who should be the mobfather, they said, they have the absolute power to control who can be elected, and who are the people to "accompany the run", which is very similar to the Hong Kong situation, normal Hong Kong citizen do not have the right to nominate the them, not to say to vote for the chief executive. and most of the Hong Kong people would believed that the Hong Kong chief executive is controlled by the China government, and they have the absolute power to eject the those they do not like, just like the mobfather in the movie. At the end of the movie, Chapman To gave out a speech to request every single member of the gang have the right to vote for the mobfather. To me, it is a symbolic scene that create a hope for Hong Kong people to have a equal opportunity to vote for the Chief executive  


10557416
Choi Yat Sing

Friday, 31 March 2017

《樹大招風》2016



The film “Trivisa” is a movie that was released in 2016, is a film which is filmed by three different directors separately; who are Frank Hui, Jevons Au and Vicky Wong. They have filmed three different stories, and are later edited and combined into one movie, adding a bit more uniqueness to the movie. “Trivisa” is distinguished as a gangster film, which many people will think the content will be full of gunfire and fighting scenes, including me. But it turns out to be more literate, action scenes only account for a minority, the film focus more on the description on the characters, and the plight they are facing. The movie carries a deeper meaning presents to the audience.  


The film is about the story of three real-life mobsters in Hong Kong who are Kwai Ping-hungYip Kai Foon and Cheung Tze-keung. They were being called the kings during their heyday. The film does not take a long time to mention about their remarkable crimes, instead, it just slightly use a few scenes to let the audience have a clear concept of what serious crimes had the three mobsters done, and their personality. What it focuses on is the follow up stories after they have committed serious crimes. In the movie, Yip Kwok-foon has become a businessman right away as he realize robbery cannot be a long-term source of money, he figures out that smuggling electronics are able to earn a huge profit, therefore he starts his company and join the industry. However, in order to let things go well, Yip has to bribe the high Chinese officials, and has to flatter them. This reflects the critical corruption between the merchant and the officials in China.

Moreover, the film place the setting in 1997, right before the transfer of sovereignty of Hong Kong, therefore the costumes, the props and the inner decorations of the houses are set to match the 1990s, which may arouse people’s collective memories. Collective memory is what people who live in the same area have in mind together, “It is in society that people normally acquire their memories. It is also in society that they recall, recognize, and localize their memories” (Halbwachs 1992, p. 38). The film may remind the audience some of the memories that they might already forgotten, such as the mobile phones, the cassette tape, the computers; all are turned into the old form, reflecting how the era has changed so rapidly.


In the movie, realizing the transfer of sovereignty of Hong Kong is coming closer, Cheuk Tze-keung the kidnapper wants to cooperate with the other two mobsters to plan a final hit, before Hong Kong is returning to her motherland. The other two agree to participate, but unfortunately (or fortunately), they end up failing to achieve the goal because all of them are being caught by the police and public security at the end. They all have suffered a dismal ending. The film uses this as a metaphor, reflecting the development of Hong Kong after the reunification is over the hill, no matter how well it has done before; Hong Kong can rarely returns to her best condition under the control of China. And also the Hong Kong citizens feel discouraged when it comes across with the nomocracy and democracy being challenged.

Miss those good old days.

Reference:
Sills, D. L. (1968). International encyclopedia of the social sciences. Available from https://sociology.virginia.edu/sites/sociology.virginia.edu/files/galecm.pdf  [31 March, 2017]

Soul Mate (2016)

soul mate film的圖片搜尋結果
(source: https://goo.gl/5zYuZq)


(source: https://goo.gl/JhlcAg)
Soul Mate is a film based on the same name novel in China. The film focuses on the bond between Li Ansheng and Lin Qiyue. The friendship of the two main characters started when they were thirteen, they have been best friends since then . They thought they would be in each other’s life for each milestone; however, the appearance of Su Jia Ming became the turning point of their friendship.
(source: https://goo.gl/Z66Lvt)

The genre of Soul mate undoubtedly lies on romantic and teen film. This kind of film especially appealing to the taste of Hong Kong audience, as we can see the big hit of You Are The Apple of My Eyes and A Little Happiness in Hong Kong. However, rarely did these big hits are produced by Hong Kong producers or directors. As for Soul Mate, local producer Peter Chan together with Hong Kong director Derek Tsang, it is one of a few teen films that draw the attention of audience across Hong Kong, China and Taiwan. Although the film is not set locally in Hong Kong, memories of audience surely flush back on their mind; an unforgettable friendship with their best friends, the first love in high school, all these attributes bring audience back in time to their teen age. It explains why the film is popular among the young adults.    Soul Mate is the second films that directed by Derek Tsang. His first work Lover’s Discourse did not give audience a strong impression on his directing style, but Soul Mate definitely give surprises movie lovers.
(source: https://goo.gl/ZDGgdK)
The ingenious use of close-up shots not only stand out the personalities of the two main actresses, it also presents the two extreme personalities of two young ladies. Some even comments that the techniques being used are with the great characteristics of Wong Kar Wai’s film - to demonstrates characters’ personalities in details by using many numbers of close-up shots. The presentation by Tsang is an exquisite reversal. The perspectives being used in Soul Mate is another breakthrough of Director Tsang. It is hard to image Director Tsang as a man, can put his shoes into the perspectives of women. Scenes such as Li and Lin looking at each others; they sleep   in bed to have girls’ talk and etc, audience can easily be moved by the angles being used by Director Tsang. It is no doubt that most of the young ladies can find their old selves in the movie.


Music is another element that can highlight the plots of the film. According to Sfetcu (2014), ‘the most common type of music heard on a film soundtrack, is music composed and placed to enhance the desire emotions of a scene, be it positive or negative. The original song of this film Soul Mate is played alongside at the beginning the movie, it act as an indicator to bring the audience into the emotions, to feel the ironic but emotional of the friendship between Ansheng and Qiyue.
All in all, Soul Mate is a film to guide you back in time, to bring up all your emotion.

Man Siu Ting



Film Review: Trivisa (樹大招風)

Film Review: Trivisa (樹大招風)



Trivisa is a crime film that based on three notorious criminals, Kwai Ping-hung, Yip Kai-foon and Cheung Tze-keung in Hong Kong history, their lives' before the handover of Hong Kong to China in early 1997. 

There are many nostalgic elements in the film. First of all, the story setting of the film already is a kind of nostalgic elements. The time of the story is in 1997, before the handover event. For Hong Kong people, 1997 is a clear line that to classify 'past' and 'now', so when the timeline set before handover, it can recall the memories of Hong Kong about the colonial time.

The three main characters are not just representing the three real notorious criminals, but also about the age they lived in, the good old days of Hong Kong. The great economic achievement and social statues of Hong Kong under the British government ruled.


Before the handover of Hong Kong, the image of mainlanders in Hong Kong people mind had shown in the film. People from different provinces of mainland trying to earn a lot of money through illegal or despicable ways. Also, we can see the Chinese officers are corrupted. People can bribe government officers to solve problems


Before the handover of Hong Kong, the image of mainlanders in Hong Kong people mind had shown in the film. People from different provinces of mainland trying to earn a lot of money through illegal or despicable ways. Also, we can see the Chinese officers are corrupted. People can bribe government officers to solve problems



This film also reflected some social situation of Hong Kong. Kwai, one of the main character, shown the fear about the Chinese government of Hong Kong people. In one of the scenes, Kwai went to the gun shop to buy guns, the gun seller told him that 'You better to do something splendid before the handover, after its happened, you can't even feed yourself, fool!' This is the fear of Hong Kong people view about the handover of Hong Kong to China, the different systems and styles rules of Chinese government would totally change the society that people were used to live in.
 

Yip, the other main character, representing the Hong Kong businessmen went back to mainland and started their business in mainland in 80s and 90s. In the movie, Yip needed to face a complete different government system in China, businessmen needed to bribe the government officers by gifts and money to make their business go earlier, every problems could be solved if you were able to bribe the relevant government officers. Yip felt hard to adopt and exhausted when he deal with those Chinese officers.


In the past, the mainland people came to Hong Kong look for opportunities to earn money, HongKongers through that they were more superior than mainlanders. But the position had changed, now the Hong Kong people went back to mainland to look for opportunities. Now the mainlanders looked themselves more superior than HongKongers and tried to suppress the Hong Kong people like they done before. For Yip, he could not accept that he was now at a inferior position, so when the policeman called him 'Da Lu Li', he went mad and picked up his gun.


Are you also feel difficult to adopt those changes of Hong Kong like the characters in the film?


Reference

Chandler, D 1997, An introduction to genre theory, ResearchGate. Available from: http://www.aber.ac.uk/media/Documents/intgenre/chandler_genre_theory.pdf. [30 March 2017].

Ndiuao Gvhs 2017, 樹大招風 2017 - 动作片 - 電影 線上 看, online video, Feb 3, viewed 31 March 2017, https://www.youtube.com/watch?v=bQ2aZaYdB2I

蒼山風 2016, 樹大招風:三大賊王「眾志」不成 今天的墓誌銘?, blog, Apr 12, viewed 31 March 2017, https://www.thestandnews.com/art/%E6%A8%B9%E5%A4%A7%E6%8B%9B%E9%A2%A8-%E5%BD%B1%E8%A9%95-%E4%B8%89%E5%A4%A7%E8%B3%8A%E7%8E%8B-%E7%9C%BE%E5%BF%97-%E4%B8%8D%E6%88%90-%E4%BB%8A%E5%A4%A9%E7%9A%84%E5%A2%93%E8%AA%8C%E9%8A%98/






Film review: The Mobfathers (選老頂)

The Mobfathers was directed by Herman Yau. Honestly, more than half of Herman’s product would have a decent beginning but not ending and “The Mobfathers” can’t be the exception, the ending provided a sharp cut feeling to and ‘there should have something more to say’ to the audience.

However, this review is not going to challenge the plot or else. I would like to focus deeper, something behind the scene: The confusion about the identity of Hong Kong citizens.

If you watch the film once or go to search the review about Mobfather, you can easily notice that the film was making a satire to reflect the political situation of Hong Kong which Hong Kong do not have the general election. But who can represent Hong Kong people during the film? Some may say Anthony Wong represent the Communist Party, Chapman To and Gregory Wong represent to the Candidate of Chief Executive, other gangs represent to the Hong Kong citizens. But in my opinion, both of them are representing Hong Kong citizens.

During the film, Ar Chuck (Chapman To) and Wulf (Gregory Wong) represent a type of Hong Kong citizens that they can hold the power, they would like put efforts on it and chase it. But they never know that what they chase just an illusion.

The Godfather (Anthony Wong) would represent another type that HongKongers but using the mindset of Chinese government, they would like to making chaos between the opponents to stabilize the regime. And the end of the film we can see the Godfather suffer the bad result when he done his “mission”. So, in my point of view,
The Godfather represent the “prefix with love” (愛字頭). A group that believe themselves very powerful, but fall quickly when their mission is done.

The three uncles (天叔、地叔、人叔) just represent the typical Hong Kong people, they don’t care who rule but what they “jetso” they can gain during the fight. They know what position they stand would have the greatest benefit and safe. They
always under ruling. (just like 天叔 said 「一人之下既無奈係好L冇癮的」) but they won’t do anything to against it. If you help me to against? Welcome, but I won’t provide any help.


The film provides a feeling with all lose at the end, Chuck and Wulf dead with their war, The Godfather dead after he finish his mission, the gangs followed Chuck and Wulf fall down a lot, the uncles gained benefit but nothing change because the structure hold still. The only good end maybe is Luke, he decided leave Hong Kong with his daughter. Perhaps Herman wanted to tell us that stay in Hong Kong is a dead end, until you leave? The confusion between compromise and conflict, Left to the audience.




Ng Chung Yip (10551048 / 21860711)

Reference

Bond, M.H. (1987). Intergroup relations in Hong Kong: The Tao of stability. In
J. Boucher, D. Landis, & K. Arnold (Eds), Ethnic conflict: International
perspectives, Newbury Park, CA: Sage.

陳家樂、朱立. (2008). 《無主之城 香港電影中的九七回歸與港人認同》. 香港.: 天地圖書有限公司

陳家樂 (2011). 《香港電影、電視及新媒體研究》. 香港.: 天地圖書有限公司

Film Review: Trivisa (樹大招風)

Source: 19屆校園記者:許學文拍樹大招風 呼應社會

The film, Trivisa, created from the story of HK’s ‘Three thieves’ kings’, Cheung Tze Keung, Yip Kai Foon and Kwai Ping Hung, it was filmed by three different director and put together under one producer. The movie’s title, ‘Trivisa’, means the three kinds of troubles in Buddhism: greed, anger and delusion, each of the major character in the film represented one trouble, which are also the most common problems happened to Hongkonger when facing changes.


Source: 【許諾。三十年】《中英聯合聲明》簽署三十周年https://www.youtube.com/watch?v=qR_Jg36X7ww

Although the film seems to be a biography of the three thieves, it is actually about the impact on Hongkonger when changes happened in HK in the 90s and how they use different methods to grab everything they can before the changes happen. The ideas of ‘change’ is obvious by the TV news clip showed at the beginning and the end of the movie, it also mentioned the promise on HK to remain unchanged for 50 years, when link to the changes and uncertainty appeared in HK recently, making this film has a deeper meaning in political and society under its biography cover.

Source: 文憑試衝刺10︰中港矛盾 http://iknow.hkej.com/php/article.detail.php?aid=21009

In the film, Yip faced several difficulties after a successful heist, forcing him to quit being a robber and become a smuggler, but when he felt being insulted by Chinese governors and betrayed by some Chinese, he can’t hold the anger and returned being a robber. This part showed the reality that even the talented in HK have to bow before the Chinese in order to adapt to changes and to earn for themselves. The end of Yip’s story is also demonstrating another social issue happening in HK, which is the tightening of China-Hong Kong relationships and local xenophobia.

 
Source: 鍾鎮濤 - 讓一切隨風https://www.youtube.com/watch?v=9mmm-XvqEUA

The other thief, Cheung, his story is not closely related to social issues in HK, but the song he sing in the movie indicated some thoughts of Hongkonger. The first song is Jacky Cheung’s ‘’, which means ‘how could I not regret of letting you go’. This song is indicating the thoughts that many Hongkonger are regretting about why they would let HK return to China in 90s, as they are now suffer much when adapting and living under China’s rule. The ending credit song is a new version of Kenny Bee’s’’, which means ‘let everything pass away with wind’, this also telling the audience it’s time to stop looking back (before 1997) and make another step forward.

Source: action still from Trivisa

Kwai, the last thief, his story shows the fear deep inside every Hongkonger when facing changes. In his story, the gun seller said, ”You better do it before the reunification, once it happens, you can’t even feed yourself!” (就係未落來先要做,落左來嚟呀,飯都唔畀你吃呀!) This is a typical fear in Hongkongers mind when talk about the reunification before it. They fear of losing everything they once own, they fear they won’t be adapt the new environment, and they fear that their time has gone.

Source: action still from Trivisa


Another important point in the film is the only place that the three thieves show in the same scene, which is the restaurant ‘Fong Moon Lau’ (風滿樓). The name was taken from a poem written in Tang Dynasty, the whole sentence should be “The dark clouds have just floated on the edge of the stream, and the sunset has sunk past the pavilion. The rain is coming, and the wind is whispering in the whole house.” (溪雲初起日沈閣,山雨欲來風滿樓。) It means that the situation is already changing before you can notice. This point out the topic once again, which is changes and its impact to Hongkonger and raise a question that could suit the recent situation of hongkongers: 

Would you accept and adapt the changes or refuse it and do something?

References:
Chen Xiaoyun and Zhang Qingmin 2016, 第19屆校園記者:許學文拍樹大招風 呼應社會 , picture, Ming Pao Canada, Richmond B.C, viewed 31 March 2017,http://www.mingpaocanada.com/van/htm/News/20160715/HK-gfg1_r.htm

DAI MO Mok 2014, 怎麼捨得你mv, online video, 2 July, viewed 31 March 2017, https://www.youtube.com/watch?v=TET2lZeyS2o

Hong Kong Economic Journal Company Limited 2016, 文憑試衝刺10︰中港矛盾Hong Kong Economic Journal Company Limited, viewed 31 March 2017, http://iknow.hkej.com/php/article.detail.php?aid=21009

MM@DBC.HK 2014【許諾。三十年】《中英聯合聲明》簽署三十周年, online video, 19 December, viewed 31 March 2017, https://www.youtube.com/watch?v=qR_Jg36X7ww

youyee 2007, 鍾鎮濤 - 讓一切隨風online video, 2 July, viewed 31 March 2017, https://www.youtube.com/watch?v=9mmm-XvqEUA




Film Review: Kidnap Ding Ding Don (綁架丁丁當)


(Broadway Circuit 2016)

Release date: June 23, 2016
Director: Chin, Kwok Wai, Wilson
Starring:  Alex Fong
Ivana Wong
Kabby Hui
Bill Chan
Mimi Kung
Hui Shiu Hung
Mimi Chu
Elena Kong
Bob Lam
Emily Kwan
Alycia Chan
Run time: 97 minutes
Class: IIB




“Kidnap Ding Ding Don” (綁架丁丁當) is a Hong Kong localised film, directed by Chin, Kwok Wai, Wilson. The story is about an amnesia police, Don (played by Alex Fong) wake up in a village house and found a girl who is tied by someone. The girl calls Ding Ding (played by Ivana Wong) and she is very capricious. She cheats Don that he is the kidnapper; and then threatens him to continue the kidnapping, to get attention from her dad. The film genre is belonging comedy, but it is meaningful that involves many affections, between the father and daughter, husband and wife, man and woman.

The film is very localised and full of Hong Kong people’s collective memory. It is about some memories that have been recalled, recognised and localised (Halbwachs 1992, p. 38). For example, the name of film “Ding Don”. On the surface, it includes the main actor and actress’s name, Ding and Don. However, it is meaningful to Hong Kong people that “Ding Don” also stands for a famous cartoon character. In Hong Kong, “Doraemon” was translated to “Ding Don” in the early period. Each Hong Kong people ever watched and knew about this cartoon. In the film, the actor’s head has a “Ding Don” potion tape, which is affixed by the actress. This prop is appeared in the plot again and again, till the film end. Here, the prop becomes iconography, “a familiar stock of images or motifs” and it involves the fixed connotations (Chandler 1997). It can represent the relationship between actor and actress still together, just like the relationship between Nobita and Doraemon.

Another connotation of the name is about the character setting of the actress. Ding Ding can represent Nobita, it is a never grow up character, always rely on Doraemon. It just like Ding Ding, she still not grows up, very capricious; and hopes to gain her father’s love. She plays a kidnapping game to attract her father’s attention.

Furthermore, the neighbours’ relationship is very close in this film. It is about Hong Kong people’s nostalgic imagination and collective memory. The director tries to create a “social framework”, and then, place some individual thought and the collective memory of it (Halbwachs 1992, p. 38). In the film, the background is a village in Sai Kung. The community is very small; the neighbours are easy to get in touch with each other. The co-stars are very outstanding, the gossipy housewives, played by Mimi Chu and Elena Kong; the Indonesian Maid, Juliana; and the owner of a food stall. All the characters are living very close, especially the housewives always gossiping the things happened in the village. For example, Mimi Chu and Elena Kong have ever gone to the Ding Ding’s house, to search the gossip news. Also, they ever invited Ding and Don to have dinner together. 

This detailed information is sculpted a very familiar plot in the past Hong Kong society. It was trying to shape a close relationship between neighbours, just like “The House of 72 Tenants”. It provides an image to audiences that the neighbours’ relationship is very close in the past, and some old Hong Kong village will keep this habit, like neighbours will invite each other to have dinner. It actually happens in the old generation, which is their collective memory.


References

Broadway Circuit 2016, Kidnap Ding Ding Don, image. Available from: www.cinema.com.hk/en/movie/details/8965. [26 March 2017].

Chandler, D 1997, An introduction to genre theory, ResearchGate. Available from: http://www.aber.ac.uk/media/Documents/intgenre/chandler_genre_theory.pdf. [30 March 2017].

Halbwachs, M 1992, On collective memory, trans. LA Coser, University of Chicago Press, Chicago.

Kidnap Ding Ding Don 2016, Kidnap Ding Ding Don Official Hong Kong Trailer HD 1080, YouTube video, 24 August. Available from: https://www.youtube.com/watch?v=vEkFjJQN59o. [26 March 2017].