Running Out of Karma is my on-going series on Johnnie To, Hong Kong and
Chinese-language cinema. Here is an index.
We’re now over two years into this project, intended as both a chronological journey through the work of Johnnie To and a highly digressive exploration of Chinese cinema. The digressions were in full effect in 2015, as I wrote and talked about the careers of Hou Hsiao-hsien and John Woo in detail. However, I’ve fallen farther behind than I would have liked on the filmography of To himself, with only two films covered over the past two years. I’m hoping to correct that this spring, with the goal of getting through To’s pre-Milkyway Image period by the end of 2016. We’ll see how that goes, but here’s the story so far:
After an auspicious, if commercially unsuccessful, debut with the New Wave wuxia The Enigmatic Case in 1980, To spent the early 80s working in Hong Kong television. In 1986 he returned to film working under Raymond Wong Bak-ming at the Cinema City studio, he he made the popular, if not especially distinguished comedies Happy Ghost 3 and Seven Years Itch. These were followed in 1988 by a pair of films, the smash hit farce The Eighth Happiness and the contemporary crime picture The Big Heat. He followed that up in 1989 with All About Ah-Long, a domestic melodrama that became the number one film of the year at the Hong Kong box office, the second year in a row a To film had accomplished that feat. The film reunited To with Eighth Happiness star Chow Yun-fat and Seven Years Itch star Sylvia Chang. Like all of To’s previous four films it was produced by Raymond Wong for Cinema City, but it is a much more dramatically ambitious work. Cinema City at their best was a freewheeling, anarchic studio where anything was possible. The loose atmosphere was responsible for some of the greatest films of the decade (in Hong Kong or otherwise), but also a whole lot of just bizarrely silly nonsense (the Yuen-Woo-ping directed Mismatched Couples, for example, in which Yuen tried to make Donnie Yen a star with a breakdancing comedy). The Eighth Happiness exemplified the lunatic side of the studio, an improvisational, tasteless and often hilarious comedy that helped establish the template for a certain type of all-star Lunar New Year comedy (a tradition that continues to this day).