At the beginning of 2010, Chinese New Year films had a resurgence. After the box office results of Mandarin Entertainment Limited's "All's Well, End's Well 2009", Raymond Wong Pak-Ming once again took out the "trick" of his New Year's film and launched "All's Well, End's Well 2010" with the original cast. At the same time, Shaw Brothers, who fought again in the film industry, joined hands with TVB to start the filming of "72 Tenants of Prosperity" with Eric Tsang Chi-Wai, and adapted Shaw Brothers' classic film "The House of 72 Tenants" (1973) with TVB stars. Two films under the banner of Chinese New Year films, a lot of sparks have been aroused in Hong Kong and Mainland China.
As for "All's Well, End's Well 2010" and "72 Tenants of Prosperity", which are the most Hong Kong style Chinese New Year Films, there are many stars, a big concept running through, full of improvisations, etc. Back then, the Chinese New Year films were spurned by the audience because of rough production and nonsensical plots. Improvised performances with an attitude of "nonsense" cannot satisfy the constantly demanding audience; in addition, there are many producers who make jokes and pile up comedy scenes indiscriminately, and use the mode of small-budget production to attract audiences with the charm of actors. The films of "negative teaching materials" teach the audience how to distinguish the quality of the film, at the same time, the audience witnesses the big scenes and excellent special effects of the Hollywood production, and has a "greedy" mentality towards the movie. Looking at the stars, this makes the "hurried" type of Chinese New Year films disappear instantly.
There were a few years in the Chinese New Year period, and films that played the banner of the Chinese New Year were not welcomed by the audience. On the contrary, some high-quality films, even if the subject matter was not suitable for the Chinese New Year, had a good box office. Derek Yee Tung-Sing's "Protégé" (2007) is one of them. In 2009, "All's Well, End's Well 2009" stood out. Some people in the industry believe that the audience has been missing the Chinese New Year films for a long time. In addition, the social atmosphere has improved, the audience laughed at the movie theater during the Chinese New Year, and the need to forget their worries increased. The objective environment for the Chinese New Year films. Looking back at the two Chinese New Year films, the overall score of "72 Tenants of Prosperity" is obviously better than that of "All's Well, End's Well 2010". It can be seen that Eric Tsang is still quite sensitive to the preferences and tastes of Hong Kong society and the audience. With the addition of two young directors, Chung Shu-Kai and Patrick Kong Pak-Leung, they can give new impetus and propositions in the adaptation, and make the extremely old-fashioned two generations of grievances and neighbors harmonious that are all interesting. Of course, the directors used the actors' images and scandals on the stage and behind the scenes to make a big show. Among them, in "72 Tenants of Prosperity", Jacky Cheung Hok-Yau and Wong Cho-Lam, who played his son, sang in the hospital for a period of time, and Wong Cho-Lam showed his singing skills to the superstar and singer Jacky Cheung and his imitation ability.
As for "All's Well, End's Well 2010", it uses Raymond Wong's usual costume comedy formula. Ronald Cheng Chung-Kei and Sandra Ng Kwan-Yue both use their on the spot reactions and perform at will. As for Louis Koo Tin-Lok, he also performs with a "going out" mentality, which depends on the individual performance of the actors. It is obvious that "All's Well, End's Well 2010" is not as "like a duck to water" as "All's Well, End's Well 2009" in this regard. However, what is interesting is that both films joke about Donnie Yen Ji-Dan's one-to-ten match in "Ip Man" (2008), which is believed to be purely coincidental.
By Kam Po LAM (original in Chinese)
As for "All's Well, End's Well 2010" and "72 Tenants of Prosperity", which are the most Hong Kong style Chinese New Year Films, there are many stars, a big concept running through, full of improvisations, etc. Back then, the Chinese New Year films were spurned by the audience because of rough production and nonsensical plots. Improvised performances with an attitude of "nonsense" cannot satisfy the constantly demanding audience; in addition, there are many producers who make jokes and pile up comedy scenes indiscriminately, and use the mode of small-budget production to attract audiences with the charm of actors. The films of "negative teaching materials" teach the audience how to distinguish the quality of the film, at the same time, the audience witnesses the big scenes and excellent special effects of the Hollywood production, and has a "greedy" mentality towards the movie. Looking at the stars, this makes the "hurried" type of Chinese New Year films disappear instantly.
There were a few years in the Chinese New Year period, and films that played the banner of the Chinese New Year were not welcomed by the audience. On the contrary, some high-quality films, even if the subject matter was not suitable for the Chinese New Year, had a good box office. Derek Yee Tung-Sing's "Protégé" (2007) is one of them. In 2009, "All's Well, End's Well 2009" stood out. Some people in the industry believe that the audience has been missing the Chinese New Year films for a long time. In addition, the social atmosphere has improved, the audience laughed at the movie theater during the Chinese New Year, and the need to forget their worries increased. The objective environment for the Chinese New Year films. Looking back at the two Chinese New Year films, the overall score of "72 Tenants of Prosperity" is obviously better than that of "All's Well, End's Well 2010". It can be seen that Eric Tsang is still quite sensitive to the preferences and tastes of Hong Kong society and the audience. With the addition of two young directors, Chung Shu-Kai and Patrick Kong Pak-Leung, they can give new impetus and propositions in the adaptation, and make the extremely old-fashioned two generations of grievances and neighbors harmonious that are all interesting. Of course, the directors used the actors' images and scandals on the stage and behind the scenes to make a big show. Among them, in "72 Tenants of Prosperity", Jacky Cheung Hok-Yau and Wong Cho-Lam, who played his son, sang in the hospital for a period of time, and Wong Cho-Lam showed his singing skills to the superstar and singer Jacky Cheung and his imitation ability.
As for "All's Well, End's Well 2010", it uses Raymond Wong's usual costume comedy formula. Ronald Cheng Chung-Kei and Sandra Ng Kwan-Yue both use their on the spot reactions and perform at will. As for Louis Koo Tin-Lok, he also performs with a "going out" mentality, which depends on the individual performance of the actors. It is obvious that "All's Well, End's Well 2010" is not as "like a duck to water" as "All's Well, End's Well 2009" in this regard. However, what is interesting is that both films joke about Donnie Yen Ji-Dan's one-to-ten match in "Ip Man" (2008), which is believed to be purely coincidental.
By Kam Po LAM (original in Chinese)