The Cost of a Better Tomorrow

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MOVIE REVIEW
Hong Kong, Hong Kong (Nam yi nui)
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Genre: Drama, Romance
Year Released: 1983, 88 Films Blu-ray 2025
Runtime: 1h 37m
Director(s): Clifford Choi
Writer(s): Clifford Choi, Mak Hui
Cast: Cherie Chung Cho-Hung, Alex Man Chi-Leung, Lo Lieh, Kwan Hoi-San, Ngau Choi-Ling, Charlie Cho Cha-Lee, Wong Chi-Wai, Gam Lau, Lee Kit-Ying, Lam Shung-Ching
Where to Watch: Available now. Order your copy here: www.88-films.myshopify.com, www.mvdshop.com, or www.amazon.com

RAVING REVIEW: Sometimes, a studio swerves just enough off its usual track to catch you by surprise, and that’s exactly what happens with HONG KONG, HONG KONG. Released in 1983 during a turning point for the Shaw Brothers studio, this gritty, character-driven drama trades out flying kicks and choreographed mayhem for something more grounded and personal. It’s a film about survival—not in the stylized sense we usually expect from Shaw Brothers—but in the unglamorous, day-to-day grind of scraping by on the edge of a city that doesn’t make space for the desperate. The story offers no easy answers, but it leans into the power of storytelling to shine a light on the lives lived just outside the frame of prosperity.

At the heart of the film is Man Si Sun, a woman from mainland China who illegally crosses into Hong Kong looking for the kind of life the city seems to promise. Cherie Chung brings her to life with a performance that balances strength with raw vulnerability, crafting a character who constantly calculates her next move but never slips into caricature. There’s a certain weariness in how she carries herself, like someone who has already lived too many lifetimes. Her journey is less about transformation and more about endurance.

Si Sun’s path eventually intersects with Kong Yuen Sang, played by Alex Man. He’s a gambler-turned-kickboxer, and while that shift might sound like it belongs in a different genre entirely, it functions more as a metaphor than a literal career trajectory. Kong is another dreamer clinging to ambition in a city that punishes anyone without a safety net. His fights in the ring mirror his emotional battles outside it. Man manages to play the brash charm and emotional restraint with an intensity.

What the film nails is atmosphere. Choi’s direction treats the city as not a backdrop but as an active part of the story. The camera lingers in tight corridors, shadowy alleys, and apartment rooms to capture the claustrophobia of survival. Hong Kong isn’t just the setting; it’s the third lead. A sense of place here is vital to understanding the characters’ motivations. The film leans into location shooting to great effect, and the production uses its limitations as creative strengths, stretching its modest budget to capture the mood of a city bursting at the seams.

The romance between Si Sun and Yuen Sang is complicated, sometimes even uncomfortable. It isn’t conventionally structured, which works for and against the film. On one hand, it feels more real—their connection is messy and emotionally confused, which fits two people constantly playing defense with their lives. On the other hand, there’s a rushed element to how they fall into each other’s lives. This unevenness occasionally dulls the emotional edge of the final act, but the performers give enough to keep us tethered to their plight.

The third act takes a more melodramatic turn that doesn’t entirely fit the grounded tone established earlier. It’s not a total detour, but it does accelerate quickly. However, it wraps with a haunting final image that brings everything full circle, reinforcing a sobering message: Life doesn't offer redemption arcs for many people living on society’s fringes. It provides choices between bad and worse. That’s a bleak takeaway, but it’s handled with enough nuance to leave a lasting impression rather than feeling like empty despair.

From a technical standpoint, the recent restoration from 88 Films brings a new polish to this overlooked drama. The Blu-ray presentation is faithful to the film’s visual grit while cleaning up enough to make details pop. The supplemental features, including a commentary and a dry but informative interview, offer useful insight for those curious about how this oddball gem fits into the broader Shaw Brothers catalog.

As a piece of cinema, HONG KONG, HONG KONG is an uneven but worthwhile entry that dares to show a different side of a studio often associated with genre flair. The film’s imperfections—slightly undercooked character dynamics, a sudden tonal shift in its final act—don’t sink the experience. Instead, they give it texture. Its strengths lie in its raw portrayal of desperation, impressive use of real locations, and Cherie Chung’s magnetic screen presence.

If anything, this film reminds us that some of the most interesting stories aren’t found in the polished narratives of the privileged but in the messy, murky lives of those left off the map. It may not hit every note, but the ones it does hit ring true—and sometimes, that’s enough.

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[photo courtesy of 88 FILMS, MVD ENTERTAINMENT]

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