As a filmmaker deeply rooted in Hong Kong’s rich cultural tapestry, working on “Twilight of the Warriors: Walled In” was not just a creative journey but a profound exploration of my own identity and connection to this vibrant city. Growing up amidst the hustle and bustle of Kowloon, I couldn’t help but be swept away by the energy of the old Hong Kong and its unique blend of Eastern and Western influences.
After its debut in May, Soi Cheang’s action blockbuster Twilight of the Warriors: Walled In has emerged as Hong Kong’s second-largest domestic box office success, raking in $13.7 million in a city with a population of 7.2 million. Not only has the movie sparked new life into Hong Kong’s martial arts film genre, but it has also temporarily rekindled interest in one of the world’s most captivating architectural anomalies: the Kowloon Walled City.
Originally a small Chinese military fort, the Kowloon Walled City in Hong Kong evolved into a lawless enclave characterized by its intricate urban layout. With no official infrastructure and buildings erected erratically, it became a complex web of tall structures connected by narrow passages and hidden corridors. Before being demolished in 1993, the Walled City housed approximately 35,000 residents within an area smaller than seven acres, making its urban density over 44 times greater than that of Manhattan.
As a devoted fan, I can’t help but express my excitement for “Twilight of the Warriors: Walled In,” set in the densely populated Kowloon Walled City of 1984 – the year when Britain returned Hong Kong to China. This action-packed masterpiece brings together iconic local heroes like Louis Koo, Sammo Hung, Aaron Kwok, Richie Jen, Raymond Lam, Terrance Lau, Kenny Wong, and Philip Ng, among others.
In May, the Hong Kong-based studio Media Asia’s film “Twilight of the Warriors: Walled In” generated $95 million in mainland China. This movie was well-received at Cannes Film Festival, where it showcased in the prestigious midnight section dedicated to exceptional genre movies. Following its debut at Cannes, Media Asia swiftly approved a prequel and sequel for the film, with Cheang returning as director along with a significant portion of the cast.
“Opening in North American theaters this Friday, ‘Twilight of the Warriors: Walled In’ was released by distributor Well Go U.S.A. I had a chat with its director, Cheang, via Zoom to delve into the making of this film and his plans for the upcoming sequels in the franchise as detailed by The Hollywood Reporter.”
How does the Walled City, once a reality in Hong Kong, resonate in local popular culture? Is it admired for its architectural wonder or perceived as a symbol of transgression? That’s what we want to explore.
Prior to its release, the Walled City wasn’t widely recognized or romanticized in the collective mindset of Hong Kong residents, primarily due to the fact that it had been destroyed more than two decades ago. The majority of people’s knowledge about the area is based on how it was portrayed in movies, often with a negative connotation. Contrastingly, Western media sometimes presented the Walled City as an intriguing, almost legendary location, as demonstrated in films such as “Ghost in the Shell” and “Blade Runner”.
Following the movie’s premiere, there has been a change. Nowadays, younger individuals are having discussions with their older counterparts about the authentic experiences in the Fortified City, reigniting a desire to learn more about its past and fostering a growing fascination.
Was the Kowloon Walled City torn down in 1993. Since you hail from Macau, born in 1972, and spent your adolescent years in Hong Kong, do you have any recollections of that specific location from your personal experiences?
Upon turning 11, I relocated from Macau to Hong Kong and found my school situated close to what was then known as the Walled City. This place had a reputation for being frightening and somewhat unsanitary, causing people to steer clear of it. The closest I dared approach was when my sister nearly visited a dentist there, but ultimately, my family opted out due to our apprehension about venturing into such an area.
Let’s put aside discussions on the architecture; instead, could you tell me how you managed to replicate the distinct atmosphere and lifestyle that thrived within the Walled City?
In my conversations with numerous ex-residents, even some affiliated with the triads, it became evidently clear that the media portrayal of the Walled City was significantly skewed. Although it’s true that the region was plagued by drugs and triad control in the ’80s, I uncovered a different facet: it functioned as a refuge for the marginalized, such as undocumented immigrants or people seeking a place to simply survive. This grim environment surprisingly provided safety and camaraderie to those unable to find it elsewhere in Hong Kong, showcasing an antiquated side of the city that captivated me deeply.
By conversing with locals, I discovered the distinctive bonds shared by residents and triad groups. For example, the actor Gordon Lam, who was raised there, recounted a story where he and his sister struggled to move a sofa as children because they were too young. When they asked for assistance from some nearby individuals, it turned out they belonged to the triads. Despite this, they assisted in moving it before resuming their drug sales, demonstrating a sense of community among all Walled City residents. There was also an account of a triad member who converted to Christianity under the influence of a renowned nun who lived there, dedicating her life to ministering to these men. Though she is still alive, I couldn’t incorporate her into the film due to time constraints; however, I hope to include her in the sequel. After showing her the completed movie, she expressed appreciation for it.
Generally, the majority of individuals I conversed with held complex sentiments towards the Walled City. While they agreed that a slum should not be part of a prosperous city, they emphasized the unique bond shared among its residents. Despite my personal reservations about exposing my kids to such a tough environment, I understood how it served as a sanctuary for those in distress – individuals searching for temporary refuge until they could rejoin society. This paradox left a profound impact on me.
In the original story, the main character is a Hong Kong-born member of the Triads, but in your movie version, you’ve chosen to portray him as a refugee. Could you explain what significance this change held for you during the adaptation process?
As a storyteller, I sought to offer readers an immersive introduction to this intriguing location. By crafting a character who was a refugee, I aimed to let the audience see, hear, and feel the Walled City through his eyes. At that time, Hong Kong served as a significant haven for refugees from various corners of the globe, making it a vibrant and complex setting. The transformation of many refugees into triad members, often due to their circumstances, added depth and richness to the narrative. This narrative pivot also enabled me to delve into themes of Hong Kong identity and sense of belonging, offering readers a deeper understanding of that era in the city’s history.
Indeed, the movie is set against a significant turning point in Hong Kong’s past, when the British agreed to return sovereignty to China (as per the 1984 Sino-British Joint Declaration), and coincidentally, during the demolition of Kowloon Walled City. With this historical context serving as a backdrop, and considering how the film delves into the distinct essence of Hong Kong identity through its characters, has your perspective on Hong Kong identity shifted in any manner while working on this project?
Indeed, during that timeframe, especially leading up to the transition period, there was undeniably a struggle with self-perception. For over a century, the people of Hong Kong largely viewed themselves as Chinese. However, as the handover drew near, many started pondering the essence of being Chinese, which sparked a great deal of doubt and confusion about their identity. This uncertainty delved quite deeply into their sense of self.
During the course of creating this movie, I’ve often pondered over my personal connection to Hong Kong and the changing conception of Chinese identity within a post-colonial setting. This introspection has strengthened my self-perception as Chinese, yet it’s also about redefining what that label entails in today’s world. Growing up in Hong Kong has significantly molded me, and working on this film has ignited a fresh sense of pride within me for being a resident of Hong Kong.
The movie was incredibly popular in Hong Kong and also did well on the mainland, China. It’s clear that it’s just a fantastic, highly enjoyable film. However, considering I’m an outside observer, it seems plausible to guess that some of its success stemmed from evoking nostalgia for old Hong Kong, as well as a yearning for the glory days of Hong Kong cinema. Is this likely? What are your thoughts on this?
In Hong Kong, it seems the movie’s popularity is partly linked to its ties with the city’s past and a powerful wave of nostalgia. While I didn’t foresee or intentionally strive for this during filmmaking, I was taken aback when I realized how profoundly it struck a chord with viewers on that emotional level.
In mainland China, the movie’s success is distinct due to a lack of personal connection with the Walled City. Instead, the appeal appears to be rooted in its 1980s action-movie vibe, resonating strongly with Chinese audiences who grew up watching those films. This nostalgia for Hong Kong cinema seems to be the driving factor behind its popularity there. It’s intriguing to observe how the film has been welcomed for various reasons across these two regions, and as a director, this unexpected success came as a surprise.
As a lifelong fan of Hong Kong martial arts cinema, I was thrilled to see that the latest film showcases veterans like Sammo Hung alongside emerging action movie talent. The blend of old-school legends and newcomers in one production is a testament to the rich history and promising future of this genre.
In Hong Kong, action movies have always been a significant aspect of our cinematic heritage, and I look forward to witnessing a new wave of filmmakers building upon this tradition in creative, contemporary ways. It’s crucial that these fresh voices offer unique viewpoints and modernize the genre instead of relying too heavily on nostalgia. Unlike their predecessors who learned the craft through hands-on experience on sets, many current filmmakers come from film schools, bringing a distinct perspective that can be both thrilling and demanding.
It’s been shared that you are working on two connected stories for Twilight of the Warriors: Walled In – a sequel and a prequel. Could you share some insights about your creative direction, and the reasons behind choosing to explore both the future and the past with this narrative?
Absolutely! Both the sequel and a prequel are currently being made. We’re actually planning to film them simultaneously to ensure consistency, considering our large group of actors. This way, we can craft a unified narrative for both movies.
When creating “Twilight of the Warriors: Walled In,” I found myself drawn to delving into the tales of the older generation during the 1950s. This era witnessed a substantial influx of people moving to Hong Kong, each hailing from various countries and enriching the city with their unique cultures. This mass migration was instrumental in the development of the Walled City, and I’m eager to uncover the reasons behind its construction and how it evolved into the iconic entity we know today.
In the upcoming story, I’m eager to dive deeper into the lives of our initial four characters post the collapse of the Walled City. I want to discover how they regain their human essence and establish themselves anew in society. I can’t wait to follow where their personal tales take them.
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2024-08-13 03:55