While the successful comedy era with Michael Hui and his brothers Ricky and Sam had passed, neither member had strayed away from the booming Hong Kong movie industry. Michael had continue to direct (1*) and may have presented Always On My Mind but acclaimed social drama director Jacob Cheung (2*) was instead brought in to helm this decidedly Michael Hui esque tale. Bringing an added sensitivity that kind of makes it the other C'est La Vie, Mon Cheri of 1993. Not that it's a bad thing. Far from it, the film can proudly share gem status with Derek Yee's drama.

Produced at UFO, drama-comedy is the recipe here because you obviously don't want to stray too far away from Michael Hui's established screen persona. But despite the social satire about greed, Hui and company presents us with something radically different yet not surprising at all in its effectiveness, a funny tear jerker with that supreme touch that usually gets Hong Kong dramas much farther in the scheme of things. Credit begins at the script stage and James Yuen (3*) may have provided a template that is rife with clichés but we know he's accomplished enough to put character touches in there that makes the melodrama come deserved. It's a family dynamic as its starting point. A dynamic where members are coming of age, parents can't keep up or track of their kids because they've neglected them, if only ever so slightly. The son has so many potential girlfriends, Chang and Yin have trouble keeping them apart, the youngest daughter keeps speculating about where babies come from, without much aid and the oldest daughter is on the rebel path, wanting to marry a struggling musician. Scenarios begin taking on a comedic tone through the very out of touch parents, leading to one highlight where they have vital life discussions with the son and the daughter tag-team style.

Comedy and drama can have a hard time sitting next to each other but with James Yuen's script, director Jacob Cheung has a blueprint where the comedy suits the detached parental unit. Yin has strange blackouts and Chang struggles to come to terms with his incurable disease results in a defensive stance that does scream Michael Hui-esque comedy. But Jacob doesn't stray, he knows that he can be outrageous and still have Michael Hui be rooted in dramatic reality as character. And by also staying largely away from the action in his technical direction, Always On My Mind becomes the kind of immersing, funny and touching ride that Hong kong filmmakers do at the best of times.

Jacob is one of those best, something his resume proves and he puts equal effort into what is really a Michael Hui trademark; the portrayal of the working man with that great, big slice of social satire. As Chang and Yin gladly uses the publicity driven media to their financial advantage, we're in territory Hui is so adept at performing and executing, without being cloying. The media image still stands true today and the filmmakers bravely challenges it without neglecting any need to move forward. Obviously this advantage the couple has during the 3 months Chang is "faking" his cancer will lead to tragedy and heartache.

Highly touching and ending on an appropriate note has much to do with director Cheung getting Hui and also Josephine Siao to commit fully, with nigh on perfect results. Hui, who even in The Private Eyes had dramatic, telling moments, skillfully embodies the denying man whose defense is lightheartedness but it's when those real moments come upon him that Hui finds a place inside of him that is incredibly heartfelt. And it's not surprising or a stretch at all, that's the reassuring thing. Watch out for a cameo by Jacob Cheung as himself and fans of Josephine Siao and Sam Hui will appreciate the sly references to their past work.

Clever, funny and an effort that will give your tear canals a workout, Jacob Cheung and Michael Hui will gladly have you commit to the human journey of a man faced with a shortened life and the realization that his loved ones now will go away forever. The sentiments as surely interpreted by you the readers are familiar but the team delivers expectedly, ranging from Michael Hui's comedy/drama act to Jacob Cheung's reserved direction. It may have somehow got lost in the shuffle under C'est La Vie, Mon Cheri but now in remastered form, Always On My Mind deservedly should be recognized as the masterful gem it is.

(1) Last to date being The Magic Touch from 1992.

(2) Credits include Cageman, Beyond The Sunset and Midnight Fly.

(3) Prolific screenwriter but uneven director. His more notable efforts are Clean My Name, Mr Coroner! and Crazy N' The City. Both featuring Francis Ng. See a pattern?

Money-grabbing newsreader Chang Yau Wei (Hui) leads a chaotic, yet mostly uneventful life. His devoted, ditzy wife (Siao) is always by his side while his three children have their own troubles to deal with irrespective of their father's interest. Two shattering events shake Chang from his monotonous apathy: firstly there is the shock announcement by his eldest daughter that she wants to marry her guitar-strumming boyfriend; secondly is the discovery that he has a terminal illness which is gradually robbing him of his life. With the news still ringing in his ears, Chang breaks protocol with a very honest news report that not only upsets the police force, but also agitates his odious employer so much that the veteran anchorman is given the sack. Though he still resolves to keep his illness a secret to protect his family's feelings, the task is made impossible when his contrite boss tries to lure him back to work after the earnest news report proves to be a ratings winner. The news station are keen to play on their star's terminal cancer and use his last three months to send their viewing figures through the roof. While Chang agrees to this in exchange for a massive pay increase, he tells those close to him that it is all an elaborate charade and that he is perfectly healthy. As his forthright views continue to inspire the Hong Kong public and he throws himself into work so that he can provide for his loved ones when he's gone, Chang begins to re-evaluate his relationship with his wife, his children and his craft.

The synopsis initially implies that this is little more than a reworking of the masterful satire 'Network', not that using such a fine production as an inspiration is necessarily wrong. Nevertheless, 'Always On My Mind' goes far beyond being just a pale imitation of a Hollywood classic - by the end of this thoughtful and witty satire, it is evident that this is a film that stands apart thanks to its own unique strengths. This is not only a brilliant combination of genuine pathos and dead-pan mirth, it is also one of the few Eastern satires to travel beyond its parochial roots.

Satire is a searing voice for a film to utilise, but it is also notoriously difficult to build a story around it that will not alienate a wider audience. It's especially hard to make the humour translate while staying true to the localised targets of the satire. 'Always On My Mind' works so well because its targets are universal and its attacks, while not breaking any new ground or being necessarily scathing, make key points about the nature of the media. Hui's best work has always mixed comedy with a subtle social critique, something that 'Always On My Mind' displays expertly. Hui's employer - the wannabe media mogul - is a pointed combination of obsequiousness and callous manipulation; director Cheung savages the bad taste and opportunism of the media who here capitalise on the last months of their star's life. The object of this scorn may be predictable, but that it still rings true around the world.

Just as Peter Finch's electrifying performance ignited the screen in 'Network', Michael Hui revels in his leading role here. Given a chance to be much more than just a 'funny man', Hui is able to stretch his considerable acting talent and encompass some suitably tragic moments. Whether he is hissing at the powers that be or sharing some heart-breaking moments with those he loves, Hui gives a supreme performance. Jacob Cheung's superlative direction also ensures that the delicate scenes never cross into mawkish sentiment and yet retain an emotional intensity under the surface. Both director and star have rarely been better than in this superior trag-comedy.

'Always On My Mind' starts slowly, building up a gradual understanding of its characters before the momentum increases. The best advice I would give to anyone is to stick with this excellent production through its slower moments as there is much to savour here. With the underrated Jacob Cheung behind the lens and the legendary Michael Hui in front of it, there's little surprise that this is something very special.