| During the early 1970's, Hong Kong cinema was at a remarkable peak. Chinese/American actor Bruce Lee was the industries biggest draw, and Mandarin was the predominant cinematic language. However, a shocking series of events triggered a metamorphosis that ultimately led to what Hong Kong cinema is today. The first, and most affecting event was the death of Bruce Lee. Lee was the single biggest Chinese actor the world had ever seen, and his death produced a huge void that shook the industry to it's knees. The other event, a direct result of the former, was the emergence of key figures that would influence potential performers and directors for years to come. One of these figures was a former school teacher turned entertainer named Michael Hui. Not blessed with the looks and physique of his martial arts contemporaries, he instead possessed remarkable creativity and a deadpan verbal delivery in which helped to develop Cantonese as the territories primary cinematic language. These traits would also aid Hui in becoming the industries top comic actor. The mid-1970's oversaw the production of a variety of comic gems, most notably GAMES GAMBLERS PLAY (1974) and THE LAST MESSAGE (1975). Hui, along with his younger, more handsome brother Sam, created films that the local audience could easily identify with. This is because the predominant theme of their films concerns the struggles of the working class citizens, which make up the vast majority of Hong Kong's dense urban population. This theme is also made clear within the lyrics of the pop songs that inhabit each production (performed by Sam himself, who is considered the father of modern Cantopop). By 1976, the brothers were at the top of their game, and they would commence work on a production that became their comedic masterpiece. Joined by middle brother Ricky (who had a short appearance in GAMES GAMBLERS PLAY), the film that resulted was THE PRIVATE EYES, which set the standards for physical comedy within Hong Kong cinema for years to come.
The plot revolves around the exploits of a Chinese detective agency headed by the penny-pinching Michael Hui (his character is often referred to internationally as Mr. Boo). Joined by an emotionally drained assistant (Ricky Hui) and an ex-Vitasoy plant employee/kung fu expert (Sam Hui), the trio would serve their clients in whichever situation would make for the best comic possibilities. For instance, they are hired upon by a disgruntled wife to snap photos of her husband's affair, so that she can reap in the rewards in court. In addition, they are assigned to foil a string of shoplifting cases in a busy supermarket, which leads to a brilliant scene. But perhaps the most important bit centers upon a relentless gang (headed by the delightful Shih Kien, best known in the west for ENTER THE DRAGON) who is demanding ransom from a wealthy movie-theater mogul. "Don't call the cops, or else....," the thugs warn, so of course, who else to turn to but the trio of private eyes, who are in for the ultimate case of their lives.
THE PRIVATE EYES is presented in a manner that would be best described as a series of skits. This, as a result, allows the film to shift from scene to scene without being bogged down, resulting in a lightning pace that entertains the viewer from beginning to end. The brothers play off eachother with finesse, and exude so much chemistry on screen together that I would even, dare I say, place them in the same league as the trio of Jackie Chan, Sammo Hung, and Yuen Biao. Although it is a given that Michael and Sam are skilled comediens, Ricky is the most underrated of the bunch, and in this film, he is given a particular chance to show what he brings to the table (which would probably lead to his solo roles in the future i.e.- John Woo's underrated FROM RICHES TO RAGS). Michael's direction is simple and to the point, adding some light touches which ultimately enhance the comic effect along the way (i.e. cues from JAWS and ENTER THE DRAGON in the oft cited kitchen fight). Sam (who is the greatest Cantopop artist of all time IMHO), as always, adds a memorable tune to the mix, which would become a staple of Hong Kong pop culture for years to come.
It is comforting to know that I am not the only one who is immensely entertained by this production, which left an undeniable influence on cinema all around the world. Stanley Tong Kwai-lai takes an entire bit from the film and implants it into his own Hollywood debut, MR. MAGOO (for those wondering, it is the cooking scene/exercise show schtick). In addition, Michael Hui's high-level usage of physical comedy would go on to influence today's top Chinese comics, most notably in the works of Stephen Chow Sing-chi (a terrific actor and comedien in his own right). In a recent Hong Kong newspaper poll of the best Chinese movies of all time, THE PRIVATE EYES is ranked high. Fans and critics have expressed enthusiastic support as well. Tim Young's, webmaster for the "Another Hong Kong Movie Page," cites the film as one of his top ten favorites. Respected film critic Barbara Scharres cites it as "one of the first social satires for the screen (in Hong Kong), (Dannen, p. 401), while Taiwanese filmcritic Peggy Chiao is in favor as well, citing the films "strong colloquial sense, and acid humor." (Dannen, p. 336) But perhaps Tony Rayns sums it up best when he calls THE PRIVATE EYES "the best comedy ever made in Hong Kong."
As Jeff Bona would say, THE BOTTOM LINE: Not to be missed by anyone remotely interested in expanding their horizons on what Hong Kong cinema has to offer. |
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