Source: Hong Kong Government special administrative region
Film Archive to present screening programme “Journeys to the West: Cinematic Dialogues Across Time”
“Journey to the West” is a well-known fantasy novel about the adventures of a master and his disciples who defeat and vanquish demons and monsters. By blending cautionary philosophies with meticulous characterisations, it established its own distinct style which inspired countless film productions. From monk Xuanzang’s real-life epic journey, to the gods and demons depicted by a Ming dynasty novelist, and waves of film adaptations in post-war Hong Kong, this Chinese cultural gem remains engaging and inspiring to this day through constant dialogue and innovations across time.
The opening screening will feature the HKFA’s newly 4K digitally restored versions of “A Chinese Odyssey Part One – Pandora’s Box” (1995) and “A Chinese Odyssey Part Two – Cinderella” (1995). Departing from the original novel, the film focuses on the plight of the Monkey King, played by Stephen Chow, becoming a bandit after reincarnation and his emotional attachments under the vivid imagination of director and screenwriter Jeff Lau. Amidst Chow’s brilliant comedic performance, the Monkey King is embroiled in a doomed romance that pulls at the heartstrings, making the films an enduring legend in Hong Kong comedy cinema.
“The Monkey Goes West” (1966) and “Princess Iron Fan” (1966) by the Shaw Brothers showcase the prowess of major film studios at the time with gorgeous costumes, meticulous set designs and intensive special effects. “The Monkey Goes West” follows the encounters between the Monkey King, his master and fellow apprentices and the White Dragon Horse on their westward journey to seek sacred scriptures, while “Princess Iron Fan” tells the stories of the Monkey King putting out the flames of the Fiery Mountains and his fights against the White Bone Demons to rescue his master. As fine specimens of how a literary classic is reimagined as intriguing fantasies with songs and dance in the 1960s, the Monkey King, played by Elliot Yueh, sings songs in the style of huangmei diao in “The Monkey Goes West”, while in “Princess Iron Fan”, the brilliant fighting scenes of the White Bone Demons, played by emerging actresses Cheng Pei-pei and Lily Ho, are interspersed with songs and dances.
In “The Monkey King” (2014), directed by Soi Cheang, the unique Hong Kong-style action design is buttressed by advanced computer-generated imagery. The story also adds a layer of sincerity and an innocent pursuit of freedom to the classic character of the Monkey King, played by action star Donnie Yen, highlighting the spree of oppressions by the celestial gatekeeper before the Monkey King wreaks havoc and breaks through the gate. In “The Monkey King 2” (2016), the costume design and special effects of the White Bone Demon, played by Gong Li, exude feminine grace and allure with stunning glamour. The film also adds a tragic backstory that drives the White Bone Demon to villainy with infernal determination, breathing modern sensibility into the traditional tale.
The screening times of the three pairs of film are as follows: