The New King of Comedy

Don't come in expecting the Looney Tunes level of insanity from Kung Fu Hustle; this flick is subdued in comparison. It still got tons of laughs, slapstick comedy and heart. It lags a bit in the middle but hey, any new Stephen Chow film is always welcome. Even his lesser movies are way more fun than most of the dreck they populates streams like Netflix.

I like Chow's old movies made in Hong Kong. They are all with casting with super new actors, brilliant and logical plot, ultra funny. His school undercover movie series are the most memorable. That are classics for most of the Hong Kong people.

This movie, though still full of funny elements, and again super new actors, however, the plot is not rich enough. The story is too simple and one dimensional.

But by watching his new movies I can have the feel of his old movies. The hairstyle of a knife stick on the hair of the female lead with blood, the male snow white..... All remind me of his past movies. His out of frame thinking and shots are simply amazing. It just stimulate your mind to be more creative.

Not a very successful movie, but still worth seeing.

Twenty years after he turned his trials and tribulations as an aspiring actor into a movie, Stephen Chow remakes his own 'The King of Comedy' with a whole new Mainland cast to decidedly mixed results. Not only does he fail to convince just why a remake was necessary in the first place, this new edition is inferior in almost every respect, so much so that we dare say you're better off seeking out its predecessor on Youtube (than watching this obvious clone intended strictly for the lucrative Mainland audience).

In place of himself, Chow has here cast relative newbie Vin E in the leading role of a passionate but unlucky actress named Dreamy toiling it out in the moviemaking industry while hoping to catch her big break. Like that which Chow played in the 1998 original, Dreamy endures countless rounds of humiliation from almost everyone on the set, including the director/ assistant director(s) who wonders why she insists on asking so many details about the throwaway roles she plays, the lead actor/ actress who laments she is wasting their time with her unnecessary questions, and even the on-the-set meal person who thinks she is there just for a free lunchbox.

If that last bit sounds familiar, that's because it was a recurring joke in the original, which starred then-Chow regular Ng Man-tat as a misanthropic who was seen consistently denying Chow's character his lunchbox. Even if we're willing to give Chow the benefit of the doubt that he's included the same plot element for nostalgic reasons, we're quite sure that we cannot say the same of the rest of the movie, which finds him again milking 'mo lei tau' humour out of the scenes where our earnest but oblivious aspirant is cast as a thankless extra.

Instead of a John Woo-like action movie where Karen Mok is the lead, the production here is a family-friendly Lunar New Year comedy entitled 'Snow White: Bloodbath in Chinatown' starring Wang Baoqiang's washed-up movie star Marco. In one of the scenes, Dreamy is cast as a stand-in for the evil witch for the movie after undergoing a botched plastic surgery op that causes her to have a pointy nose and chin, and is made to endure a beating by the seven dwarves; and in another, she is tricked into playing a vengeful ghost back to haunt Marco, in order that the director may capture a genuine look of fear on the latter's face which seems painfully out of his very limited range.

As surprising as it may sound, that is as amusing as the movie gets, unless you include a sequence where Dreamy insists on keeping her prop of an ax on top of her head while attending her father's (Zhang Qi) birthday dinner. Whether intended or otherwise, the scenes on the production of the aforementioned fake movie that see the vain and irascible Marco trying but flailing to act are not funny by any measure, not least because Wang's egoistical character is so annoying you'd just want to smack him. Oh yes, we're not quite sure if Chow meant for Marco to be a hilarious caricature, but we find little humour in his character at all.

And therefore if you, like us, stepped in hoping for some good-old Stephen Chow comedy, we can guarantee you that you'd be utterly disappointed. Not only does Vin E hardly come close to capturing the same sort of charming naivety which Chow evoked in the original, there are very few scenes that are anywhere near as entertaining, even as some of them are clearly recycled from the same formula. Yet it isn't quite as simple that Chow has simply lost his comedic mojo; rather, continuing a a trend from his most recent movies such as 'Journey to the West' and 'The Mermaid', Chow seems to have simply traded laughter for emotion and/or drama.

So instead of finding humour in Dreamy's struggles, Chow chooses to play up Dreamy's determination as she overcomes one obstacle after another in order to chase her dreams of being a movie star. Besides all that humiliation we've described, she'll have to blink through her roommate Xiaomi (Jing Ruyang) getting her big break after being talent spotted on the street. She'll have to look past her father's virulent objections against her choice of career, although both parents secretly look out for her behind her back. And last but not least, she'll have to endure the heartbreak of her boyfriend Charlie's (Zhang Quandan) infidelity, with whom she had even planned to settle down with. Chow's message to 'work hard and persevere' is scrawled in his handwriting on some of the versions of the movie poster, and it is this he chooses to emphasise in the movie.

Yet as well-intentioned as it may be, we can't say that we were particularly moved, not least because the farcical tone of the abuse she has to withstand somehow diminishes the realism of the circumstances that we are supposed to empathise that she is in. To be sure, Chow's own original also tried to portray his character's unblinking dedication to craft, but it went down a lot better with his own signature brand of humour. Without the wit, and with a much heavier hand, the drama here unfortunately falls flat, and the movie ends up being a lot less entertaining than its predecessor was.

Truth be told, 'The New King of Comedy' is a wholly unnecessary remake. After his string of VFX-heavy blockbusters, many of Chow's fans - like us - were hoping that this movie would see him return to his early roots finding humour and heart in ordinary people. Yet if this pointless retread is a portend of what that return might look like, we'd much rather watch reruns on TV than sit through one-and-a-half hours of half-baked humour and cringe-worthy melodrama. Surely someone who was once feted as the king of comedy can do much, much better than this?

You have to like Steven Chau as a writer, a sharp social critic, before you're qualified to evaluate his work. It's like being totally in tune with a particular person on aspects of life, views, taste, interaction, to be critical of him/her as a person. I'm a diehard fan of Steven Chau from day one and everything he does (and I believe he puts his heart and soul in every project he's made) I appreciate. I of course is a Cantonese person, and grew up in the same social environment as he, despite our age difference.

This film was at first not intended to be made, much less shown. I heard (no proof here) Steven had a contract with a conglomerate to produce 5 blockbusters in 5 years but by the last Chinese New Year season his current film for this season wasn't ready so instead he produced this film just in time as a substitute. At first I thought such a hurriedly made film must be cheaply made, and shoddy in many areas that required careful handling, but on seeing it, the contrary was found to be true.

In this film, Steven's dialogues, characterisations, plot turns are all meticulously written. Outstanding characterisation are the main character's father, her betraying boy friend, the exaggerated parody on film actors and directors. The story contains many heart rending turns in personal failures, loss, betrayal of trust and love, hopelessness which are typically imbedded in all of Steven Chau's drama, to be given balm at some point in the film with moral victory, love reciprocated, the good's final prevalence.

The film didn't do particularly well in the box office, perhaps because today's viewers didn't appreciate these fine classical qualities for they had expected more slapstick laughs and the like from Chau. But to write a piece that impelled its audience not just to laugh (for the many silliness in the film) but to tear in earnest in compassion for the characters and events is a sure sign of Steven Chau's greatness.

As a English speaking American I didn't think I would find myself here, however I recently rewatched Kung Fu hustle which at that point was the only Chow movie I had seen and decided to go down the Stephen Chow rabbit hole arriving here. Whoever said comedy doesn't translate was wrong because I don't speak mandarin and this movie had me actually laughing. It does depart from Chows typical over the top style but I loved it. This movie had a perfect amount of comedy and drama for me and I'd highly recommend giving it a shot.