On April 1st, 20 years ago, Leslie Cheung bid his
final farewell to this world. Though he is no longer with us, his influence
endures. While many of us still miss him dearly, we also look back fondly on
the golden age of Hong Kong cinema that he embodied.
From the 1980s to the 1990s, Hong Kong cinema
enjoyed a global reach, releasing over 200 films annually and providing work
for more than 20,000 professionals in the industry. Not only did Hong Kong
films outperform Hollywood productions in local box offices, but they also
influenced Western cinema. Numerous American directors paid homage to Hong Kong
cinema, seeking to imitate its style and techniques. It was during this era
that Hong Kong earned the monikers “Hollywood of the East” and the “Star
Factory” of Chinese cinema. Leslie Cheung, who collaborated with esteemed
directors like Siu-Tung Ching, Wong Kar-wai, John Woo, and Chen Kaige, created
cinematic masterpieces such as “A Chinese Ghost Story” (《倩女幽魂》), “Days of Being Wild” (《阿飞正传》), “A
Better Tomorrow” (《英雄本色》), and “Farewell My Concubine”
(《霸王别姬》). Through his magnetic performances, Cheung
brought the allure of the East to the world stage and cemented his place in the
annals of cinematic history.
Over the course of its 110-year history, the Hong
Kong film industry has undergone significant changes and developed its own
unique aesthetic style. While it is primarily known for its entertainment
value, Hong Kong cinema has always been intimately connected to Chinese
traditional culture in multiple dimensions. Its artistry draws inspiration from
diverse sources, such as poetry, paintings, operas, and folk music. Consider
Wong Kar-wai’s films, for example. “In the Mood for Love” (《花样年华》) constructed a nostalgic and spiritual
atmosphere through its use of colors and composition. Conversely, “Ashes of
Time”(《东邪西毒》) features a yellowish tone that evokes a sense
of gloom and melancholy, presenting a vivid artistic sensibility and bold
outlines that resemble Chinese paintings. Such works offer audiences the
opportunity to develop indescribable emotions. Hong Kong musicians, led by
James Wong, have also contributed to the unique sound of Hong Kong cinema.
Their soundtracks are creative, popular, and classic, as exemplified by works
like “A Sound of Laughter in the Vast Sea” (《沧海一声笑》) and
“A Man Should Stand Strong” (《男儿当自强》). Hong Kong cinema has also
made significant contributions to the Wuxia genre, giving rise to numerous folk
music classics.
These films showcased pluralism, tolerance,
dignity, and apoliticism, reflecting the rich cultural diversity of Hong Kong.
However, recent films like “Revolution of Our Times”（《时代革命》） and “Blue Island”（《忧郁之岛》）, which depict Hong Kong’s
social unrest, have been too politically charged and have overlooked the
once-glorious legacy of Hong Kong cinema. These films may incite controversy
among the younger generation in Hong Kong, and they do not promote a healthy
and long-lasting future for Hong Kong films on the international stage. More
than 20 years have passed since Hong Kong’s return to China, and the film
industry has undergone significant changes during this time. After a
challenging period in the 1990s, Hong Kong cinema is now seeking to innovate
and evolve. The industry is poised to unleash the creative energy that has been
pent up for too long.
In 2003, the Closer Economic Partnership
Arrangement (CEPA) between the Chinese mainland and Hong Kong was signed, which
created new opportunities for filmmakers from both regions. As a result, more
Hong Kong directors, such as Peter Chan and Hark Tsui, started making films on
the mainland. Collaborations between filmmakers from Hong Kong and the mainland
produced popular and critically acclaimed films such as “The Taking of Tiger
Mountain” (《智取威虎山》), “Operation Red Sea” (《红海行动》),
“Detective Dee and the Mystery of the Phantom Flame” (《狄仁杰之通天帝国》), “Overheard”(《窃听风云》), “Storm” (《反贪风暴》). These films demonstrated a new Hong Kong
film style that fused Eastern and Western storytelling techniques and opened
new avenues for Chinese cinema.Films like “Yip Man” (《叶问》),
“Bodyguards and Assassins” (《十月围城》), “Operation Red Sea” and
“Leap” (《中国女排》) incorporated patriotic and historical themes,
breaking free from the limitations of similar-themed movies.
Today, there are over 80,000 film screens in
China, which is the highest number in the world. China has become the
second-largest market for films. After the epidemic, the Hong Kong film
industry would need investment, market, and creativity if it intends to develop
and evolve. The vast market in the mainland is providing solid support for the
continuous innovation and development of Hong Kong films.
After experiencing several years of turbulence
and an epidemic, Hong Kong is slowly but surely recovering in both its society
and economy. As we enter this new era, Hong Kong films will continue to
showcase the history and reality of the city, while also embracing the culture
of China. We believe that Hong Kong film professionals will preserve the
positive experience gained from past Hong Kong films, and bring forth new
works that reflect the current times. Through these films, the stories of China
and Hong Kong will be shared with the rest of the world, and we eagerly
anticipate the rebirth of the “Golden Age” of Hong Kong cinema, under the
watchful gaze of the Lion Rock.
Philip B.
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