 |  |  | | | Stephen Chow Sing-chi has long been considered the undisputed box office king of Hong Kong Cinema (not discounting Jackie Chan or Chow Yun-fat in their heydays), beginning with the remarkable success of the Jeff Lau helmed All for the Winners. Ever since then, he has churned out a large number of vehicles that vary in quality, from low brow (Tricky Brains, Love on Delivery, etc.), to well rounded (Forbidden City Cop, A Chinese Odyssey series, King of Beggars), to just plain excruciating (The Lucky Guy, Tricky Master 2000). And yet, despite the lack of effort on a number of these pictures, the box office takes have always remained strong. But with the King of Comedy, Chow is perhaps presented with his most mature work to date, combining his trademark brand of "mo lai tao" humor, along with genuine heart and a spirit to entertain that is readily appear ant throughout. | | LOG IN TO COMMENT ON THIS REVIEW! |
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| | | | | This new character of Sing Jai's is quite bewitching. He is a jaded and weary, struggling actor. A gentle, perplexed and lonely individual with a certain thespian acerbity but none of the spitefulness of the previous movie (God of Cookery). This is definitely one of the best movies he has ever made. It is a whole new style of storytelling that suits him very well. He seems very calm and age has given him extra dignity. Like Jackie in Gorgeous he is having a cradle snatching affair, but the girl is very wise and quite impressive, so it doesn't seem so strange. Sing Jai gives a performance that is exquisitely sad and subtle. Half child, half little old man, half here, half not. | | LOG IN TO COMMENT ON THIS REVIEW! |
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| This movie has what many others don't, and this quality is a trademark within Stephen Chow Sing's movies: heart. While the only other recent Chow Sing movie I have seen was God of Cookery, I found that movie to be full of spite. In KoC, as in All for the Winner, Stephen's character is made real through selective glimpses into his life. KoC does not intend to be funny, but it IS funny. It is actually a serious movie but comedic happenings as Chow Sing himself described it. And this works brilliantly: while other movies overblow it on sentimentality into the realm of implausibility and inaccuracy, never once does this occur in KoC. Instead, the character is easily identifiable with, and his motivations are crystal clear. His interaction with Cecilia's character is a pleasure to watch, as her acting skills (and her) are a sight to behold. Together, they mesmerize us and the age difference is never quite too noticeable.
I really have nothing but praise for this movie, but there is one glaring criticism I must voice: the ending isn't too satisfactory as it abruptly happens, nor is the plot twist involving a certain character ( I wont say who) nor is the symbolic climax of Sing Jai's character's acting ability founded evenly, as I was confused because the twist is just so sudden. |
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| I loved this movie. Stephen Chow is back in form, after the mixed success of LAWYER LAWYER [1997] and THE LUCKY GUY [1998]. Here's something new and daring: a satiric comedy, constructed largely as a series of parodies, that is somehow, at the same time, full of feeling. You can enjoy the brilliant set pieces that send up The Killer, A Better Tomorrow 2, Long Vacation, Excreman the dollop of celebrity pig poo (thanks, Tim!)... But Chow (and long time collaborator Lee Lik-chi) have done this sort of extended parody-film to brilliant effect already (Flirting Scholar [1993], From Beijing with Love [1994], Love on Delivery [1994]). What's new (or, rather, what picks up on more substantial Chow vehicles like God of Cookery [1996] and A Chinese Odyssey [1995]) is a belief in *something, underneath: romance, authenticity, loyalty. This film deserves a more extended review that I can give here: but I'll just signal some highlights: Chow works beautifully with a superb cast: Karen Mok is brilliant, hilarious, glamourous: one only wishes that her part hadn't been cut down so drastically. Ng Man-tat is a revelation: no clowning, no tearing up the scenery: just smooth, powerful energy, completely in character, unforgettable. But the revelation of the film (as others have already noted) is the gifted Cecilia Cheung Pak-chi as Lau Piu-piu the club girl. What a voice, and what sure comic timing and confident screen presence, for a first-time actress. She and Chow have a fascinating chemistry: their scenes together click perfectly. KING OF COMEDY was not without problems: why does Chow feel he needs such a young romantic co-star? The ending: I still haven't figured out any way to account for its abruptness, other than sloppiness. And, as alluded to above, inside this film is an even richer one trying to get out, I'll bet, with a more fully realized romantic triangle that gives space and time to Karen Mok. Nevertheless, warmly recommended: not just for Chow fans. |
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