Striking a fairly fun note but not as low-brow as the parody-filled poster art suggests (with Lau Ching-Wan and female lead Huo Siyan replicating the posters for In The Mood For Love, Brokeback Mountain and Mr. & Mrs. Smith), Lawrence Lau returns to directing for the first time since 2001 (2*) and he's been observing. Observing that Hong Kong cinema has taken a turn for the worse, observing that you can make a difference, be it as a filmmaker or an actor and observing that one of the greatest treasures of the territory have been reduced significantly. With My Name Is Fame then, Lawrence Lau welcomes Lau Ching-Wan back in the frey and with inspirational results.

There was nothing wrong with Ching-Wan approaching comedy again as evident by the successful turn in 2001's La Brassiere but it's since been mostly downhill with UN-inspirational scripts and roles after UN-inspirational script and roles (3*). Proving that the best and brightest don't receive good material on a constant basis, you need better writers and directors for that. For Lau, Derek Yee was one (Lost In Time) and Lawrence Lau certainly is. Co-incidentally, writer James Yuen hides behind the best of Lau Ching-Wan's better performances during the new millennium. So along with his writing team and director Lau, they offer up a glimpse of the less glamorous or rather the reality of Hong Kong cinema. Something that can be applied easily to a global perspective, which is why My Name Is Fame works so well. Equally much to be considered a document of the real life stumblings of our lead, it comes through with a familiar down to earth story.

The character of Poon Kar Fai clearly knows his craft, has a tremendous instinct for what makes good acting and his blow-hard attitude has more to do with frustration of the situation he and many faces as craftsmen. Some even revert to a back-up profession (Wayne Lai's character Wai representing this, being a mechanic), living life as a balanced individual but Poon has not yet had that awakening. He's partly in an illusion still, stuck in a time warp (judging by his fashion statements for one) and in need of someone to tell him to either get on with his life or develop his craft even more. Faye Ng is of course the opposite, the naive dreamer who awakens the teacher in Poon and ultimately teaches him a thing or two about bettering your situation.

This is awfully on the nose material in writing but there lies a skill here, both in the screenplay and Lawrence Lau's observant direction, that prevents sentiments from being overbearing. The observations of the low's Hong Kong cinema provides us with (local carbon copies of successful Hong Kong movies being one low) and the truth of what makes a star vs. an actual actor are not intelligent as such but suitably hands-off statements, again in an observant way. Therefore it takes a while for My Name Is Fame to gain some magic because it seems to go through some form of motion where it ticks off what you see as an insider in the biz (4*) and a genuine problem stems from the fact that this is at heart a calculated story. The plant representing every theme and message in the form of Tony Leung Ka-Fai's cameo (5*) should've reeked for instance but combine Lawrence leading the frame in the low-key way he does with what's said so sincerely here, it's quite impossible to dislike a movie like My Name Is Fame. Lawrence observes what he sees and has seen, perhaps these views being the reason for his directing hiatus but he's clearly out to make and support local films. That's what we get here, a local film appealing to a mass of fans believing in Hong Kong cinema from overseas. The battle Lau has has with familiarity and predictability gets neatly shoved to the side in favour of the all too clichéd word inspiration.

Despite the last paragraph sounding like a closure to this review, I'd rather dedicate the last to the actors, in particular Lau Ching-Wan who comes through with such a spot on performance it seems almost impossible he (or anyone involved) DIDN'T draw any inspiration from his real life woes concerning getting quality roles. Lau takes Poon Kar Fai through the expected motions the scenario dictates but he is nevertheless completely absorbing and natural, not at all worried about appearing old and washed out. It shows when an actor feels he's got meat to work with, even if not classic meat but that then plays into a humble nature that character/actor possesses here. Poon knows he's good, wants to do good but is again not a prick about it. Respecting yourself and the craft becomes key words embodied via the meeting between him and Faye. Although dubbed, Mainland Chinese newcomer Huo Siyan is suitably cast because she IS fresh. The film doesn't wander as neatly into real territory with this character as written but Lawrence Lau focuses on the rough, newcomer aspect of Huo Siyan and makes it well integrated. Playing confidently against the veteran Lau, Huo may not have the best and brightest future ahead of her but is good in her debut. Heck, maybe even she learned a life defining lesson here akin to what I hope Lau Ching-Wan did. In any case, we sincerely welcome an inspirational trio of new and old.

(1) In contrast to Lau Ching-Wan himself who has promise still but has never won a Hong Kong Film Award.

(2) The 2001 effort being the excellent youth-drama Gimme Gimme but the always interesting Lau has given Hong Kong cinema regarded movies such as Gangs, Arrest The Restless, One And A Half and Spacked Out.

(3) A rare highlight came in the Wai Ka-Fai directed Lunar New Year comedy Fantasia that saw Lau mimicking the screen image of Michael Hui to terrific effect.

(4) In a twist, the various cameos from directors Gordon Chan, Ann Hui and Samson Chiu doesn't reflect their actual image as filmmakers. Here Chan makes arty Category III erotica, Ann Hui is in 70s crime actioner territory and Chiu doesn't direct much at all when shooting his cheap prostitute story on the streets. That's what assistants are for.

(5) And a whole bunch of cameos follows, including Fiona Sit, Niki Chow, Derek Tsang, Stephen Tung, Henry Fong, Ku Feng, Jamie Luk, Jo Kuk, Fruit Chan and Ekin Cheng.

After winning praise and acclaim in the shape of the 'Most Promising Newcomer' award at the Hong Kong Film Awards, thespian Poon Ka-Fai finds his career faltering and the opportunities for meaningful work drying up. As the intense actor finds himself earning a reputation as being someone 'difficult', the roles ebb away and the quality of the films he does appear in is noticeably lacking. The phone stops ringing with offers, but Poon finds himself the reluctant idol of a wannabe actress, Faye, newly arrived from China. The misanthropic thespian unleashes his usual tirade towards his fawning fan, yet she continues to look to him for advice as to how to become a star. As circumstances force Poon and Faye together the former begins to thaw and develop affection for his young charge. Poon now takes on the role of her agent, navigating her through all the trappings of the movie world and teaching her the nuances of the craft.

The memory of the last good Lau Ching Wan still flickered faintly in the mind and now 'My Name Is Fame' has arrived to remind us of exactly what the actor is capable of. It may not see him return to the status he enjoyed post-'C'est La Vie Mon Cherie', but at the very least this is a comic-drama that has some obvious care and attention lavished upon it. The intentions of the film-makers is not just to churn out a feature to fill theatres for the sake of it - there is actually the desire to tell a story and rely on the skills of the actors to bring these ideas to life. Such seemingly modest ambitions still elevate significantly above the past few Lau Ching Wan vehicles.

Lawrence Lau shows a care for the central dynamic of the story and therefore veers the focus away from a satire of Hong Kong film industry and onto something more intimate. In so doing, Lau displays the same interest for the minutiae as he does for the glitz of the entertainment world, bringing the theme a little closer to the majority of viewers. There are still some insightful digs at the film industry and Lau Ching Wan himself, yet 'My Name Is Fame' succeeds because there is some realism behind its humour. That's not to say Lawrence Lau is completely in control of the proceedings - he still meanders down a narrative cul-de-sac occasionally, but tendency is never as distracting as it was in films like 'Gimme Gimme'. He also takes the predictable route of using a romantic sub-plot halfway through when simple friendship between the leads appears more affective, though my few niggles with the direction hardly constitute a reason to avoid this otherwise engrossing film.

'My Name Is Fame' is essentially a platform for Lau Ching Wan and the actor makes full use of this opportunity. Lau the seasoned performer returns to the screen with the aptitude for gritty charisma and weary melancholy many of us had feared were consigned to history. Almost like an Asian Walter Matthau, Lau Ching Wan grumbles his way through the first half of the film before his redemption begins to take place. His confidence with the multi-faceted character he's entrusted with is due cause for optimism regarding Lau Ching Wan's future roles. Huo Siyan's performance gets better as the film develops and provides her co-star with someone to spark off, though no-one who has sat patiently through Lau Ching Wan's recent horrors will begrudge him taking the lion's share of the praise for the production's success.