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Since the early 1980s, Hong Kong cinema has addressed
its unique identity, best expressed as doubleness-- past and present,
early and late capital, Eastern and Western in its orientation--
elements wedded together by its history, economy, culture, and place.
Influenced by its cultural roots and western film as well,
reinterpreting almost every genre, Hong Kong cinema has ignored overt
politics, but generously compensated by its political subtexts in many
genres. The potential effect 1997 could have on the movie industry
became a topic of concern with attitudes ranging from little, if any, to
a great deal and running the gamut from optimistic to pessimistic views.
Some production companies and studios weighed offers from Singapore's
government of handsome relocation tax breaks. Canada's popularity as a
port-of-entry for Hong Kongers leaving the colony suggested the
potential of Toronto or Vancouver to emerge as a new enclave for Hong
Kong filmmakers. On one hand, Woody Tsung of the territory's Motion
Picture Industry Association, maintained that while 'it's natural to
have some concerns,' China would not interfere because that would result
in a mass exodus of talent and 'the collapse of the Hong Kong film
industry.' On the other hand, director Joe Cheung, recalling 'one
country, two systems,' asserted that 'we must fight for freedom and
creativity.' Some, no doubt afraid of future ostracizing or requital,
were hesitant to criticize Chinese policies concerning, among other
things, co-production arrangements, import quotas, and film content.
Moreover, many actors and directors looked forward to exploring projects
on the Mainland and in Mainland studios, working in new locations with
expanded talent pools, and employing China as a backdrop for locations
and narratives.
[Image: Leslie Cheung and Tony Leung Chiu-wai in Wong Kar-wai's Happy
Together; courtesy/permission Kino International]
Wong Kar-wai's Happy Together (literally, Spring Light
Leaking, 1997) earned him the director's prize at Cannes in the spring
of that year. At the time he remarked, 'I am not sure that after July
first it would be approved... the subject is very sensitive.' Subtitled
A Story About Reunion, the film depicts the aftermath of a gay couple's
breakup as well as offers a reaction to Hong Kong's then imminent return
to China. Starring well-known and popular male leads Leslie Cheung and
Tony Leung Chiu-wai as the lovers, the movie pushed the envelope by
mainstream Chinese standards, leading to its Category III rating in Hong
Kong and its being banned in Malaysia and South Korea (although it was
eventually released in the latter). Wong dismissed the labeling of Happy
Together as a gay film, insisting the couple could just as well have
been male and female but that they happened to be men; for him, the
story was about relationships. The movie is Wong's most direct political
statement thus far-- a challenge to the 'normalization' of Hong
Kong-Mainland relations on the eve of the handover.
Chapter 12 |
