Stephen Chow and His Movies, Research Paper Example

Stephen Chow is a popular director, writer, producer, actor, and comedian who began his work in China.  His films have gained immense popularity, depicting elements of Chines culture, specifically that of martial arts.  Chow’s films institute a number of implications that represent Chinese and popular culture, that have been influential to Chinese culture, and certainly influenced by Chinese culture.

Movies

Stephen Chow’s influence can be relatively seen in conjunction with the number of films in which he has been involved.  In fact, his filmography spans over sixty movies, and he was won a number of awards.  He has won awards for acting, directing, and film awards for movies that he has been involved in.

King of Comedy

King of Comedy was a film in 1999, directed by Chow.  Chow also plays as a primary actor in film, who acts as an actor who is unable to become successful in his career.  Wan Tin-Sau (Chow) finds himself only being placed as a movie extra and the head of a community center in his village.

As Wan develops a relationship with a girl who asks his advice in acting, he is able to get a leading role with a famous actress, Sister Cuckoo.  After difficulties with the girl he fell in love with, Lau Piu-Piu, Wan and her reconcile and clarify their love for each other.

Wan’s part is given to another actor as Sister Cucko becomes jealous of the relationship between Wan and Piu-Piu.  After a situation gone awry with a secret agent who helps Wan, Wan saves the situation by recovering the gun, after the agent is shot.

Wan becomes famous after “Thunder Storm,” which is based on “Jing Wu Men” from Bruce Lee.  Including these actors mentioned in the summary, the film leaves on Wan achieving his dream.  The film ends with spoofs involved with an advertiser of the movie.

“King of Comedy” illustrates a number of elements within comedy and drama.  Containing some gags as well as some dramatic elements within the film, it achieves both of these themes.  This film diverges from the normal mo lei tau films of Chow, which primarily include humorous themes from cultural elements in Hong Kong.  In some ways the film can be seen reminiscent of Chow, as Stephen Chow began his acting career as a temporary actor, prior to becoming better known.

The God of Cookery

“The God of Cookery” is a 1996 film that was written and directed by Stephen Chow, who plays the main character as well.  It entails the story of a Hong Kong chef who is interested in making money, much more than that of cooking.  It creates parodies in its characterization of celebrity chefs, where Stephen Chow plays the chef by the same name; however, the Chinese characters for the Stephen Chow in the movie are different than the “real” Stephen Chow who stars in the movie.

The movie characterizes the ludicrous nature of the cook Stephen Chow.  Introduced as the God of Cookery, Stephen Chow fails to crown a new champion, who chooses to undermine other contestants.  For instance, he makes fun of contestants and even eliminates a chef for being ugly.

Chow becomes involved with a chef who poses as a fan.  Stating that Chow is a fraud, Bull Tong becomes united with a Chinese spoof dish.  Later Tong wants Chow assassinated, frightened by the success of the dish.

The movie also involves a major cooking competition between Chow and Tong.  It becomes saturated in more spoofs on Chinese culture, most notably in that of the names of the dishes.  Involving divine intervention, the film truly ends on heightened terms within mo lei tau within the film.

The film truly involves a number of mo lei tau elements.  They are often expressed through the Chinese dishes that are created.  Theatrics enliven the dramatic elements, implementing close-up and other parodied camera work.  Comic moments are promoted with rather fast editing, as the movie is founded on the fast pace of time employed.

CJ7

“CJ7” is a film that was released in 2008 in both Hong Kong and the United States.  It is starring, written, and directed by Stephen Chow.  The film utilizes science fiction elements within that of comedy, diverging from the normal martial arts films in which Chow is known.  It is inspired in part from the movie “E.T.”

Stephen Chow plays Chow Ti, who is a poor worker looking to make life better for his son.  His son, Dicky, is often bullied at school and even by his teacher.  Eager to make life better, Chow wants to save money to send his son to private school.

After Chow denies his son for the robotic toy he wants to buy, Chow sees a green orb that he gives to his son, presenting him with a new toy.  Dicky names the transformed alien “CJ7” and takes him to school.  Later Dicky is able to make new friends after he tries to dispose of the alien.

Chow becomes hospitalized and later dies from a work accident.  CJ7 revives Chow, sacrificing his life to save the boy’s father.  The movie ends with a UFO landing and hundreds of aliens exiting the object.

The movie offers an interesting take on the style of Stephen Chow.  Diverging from the more notable martial arts-based movies, it offers a different setting and genre for the current movie.  However, there is clearly no diverging from the comedic elements presented in Chow’s film, as once again “CJ7” illustrates the sharp comedy presented in Stephen Chow’s famous and lesser famous movies.

Shaolin Soccer

“Shaolin Soccer” is a movie that was released in 2001 in Hong Kong.  It is the first movie from Stephen Chow to be released in the Unites States, which occurred in 2004.  The film starts and was written and directed by Stephen Chow.

Until “Kung Fu Hustle,” “Shaolin Soccer” grossed the most amount in Hong Kong history (in Hong Kong).  It also led to the Hong Kong Film Awards for best Actor, Director, Picture, and many others.  It represents the typical elements of a Stephen Chow film, with special effects and mo lei tau comedy.

The plot takes Chow as Sing, who meets Fun in their quest to start a soccer team.  Inspired to win a great deal of money in a national soccer competition, they join with other Shaolin kung fu followers who join in this quest.  Together they train to enter and win the tournament.

The film mixes together both martial arts and soccer to the team’s playing style.  The film centers on the supporting characters of the soccer team.  In the end, they face Team Evil to decide the title.

The film’s simplistic storyline does not falter from the normal elements of Stephen Chow’s films.  The brand is comedy is in line with previous films from Chow.  References to Hong Kong culture and martial arts gags are present here as well.

At the time of the movie’s release, the film brought together new dynamics.  This is found in the special effects, which are certainly new in this film.  Under the characterization of a sports film, the visual gags draw from a myriad of different sources, such as video games and Japanese animation.

Kung Fu Hustle

“Kung Fu Hustle” is a movie released in 2004 in China and in 2005 in the United States.  It is starring, directed, produced, and written by Stephen Chow.  It was the biggest box office film, in terms of revenue, in Hong Kong.  It received rave reviews and a significant number of rewards, including Golden Horse Awards and Hong Kong Film Awards.

The plot features Stephen Chow as Sing, who is a thief.  Sing wants to join The Axe Gang and must commit murder to do so.  Attempting to rob Pig Sty Alley, the locals become involved in a fight with the gang, which turns into a war.

The two sides become immersed into the war.  They both launch weapons throughout the film reminiscent and certainly parodied of ancient kung fu.  Captured in between this war, Sing comes to terms with his fate.  He is able to find himself as a true master, and later offers to train one of the area’s kung fu legends.

The comedic elements of the film are well documented.  It certainly is characterized within the mo lei tau of Stephen Chow’s films.  It is perhaps most evident in the vast realm of martial arts parodies, in the names of ancient kung fu styles and moves.

The film also contains a great deal of special effects.  As Stephen Chow’s “normal” genre in that of martial arts, there are a number of special effects that are placed into the fight scenes of the movie.  The special effects and humor of the film are certainly in line with other films, for many in which his films were introduced outside of Hong Kong.

Popularity

The movies of Stephen Chow are rather popular, especially in reference to the reception in Hong Kong.  His movies have been received well in the United States, with the prominence of ”Kung Fu Hustle” established.  His popularity in the Hong Kong and the United States has a number of implications.

Thematic Elements

The popularity of Stephen Chow’s movies is able to be seen against the primary elements present in his movies.  In fact, it is necessary to establish these elements in order for this relationship to be seen, in regards to cultural implications and trends.  His movies certainly make prominent use out of the following themes.

Martial Arts

The martial arts play a significant role in Stephen Chow’s films.  Depicting various styles within kung fu primarily, his movies portray a large number of storylines, scenes, and other topics surrounding martial arts.  It is one of the most readily seen element within the movies of Stephen Chow.

With some exceptions, his films contain sequences and storylines from the martial arts.  In fact, all but “CJ7” contain vast traces of martial arts in the movies.  They actually make up the focus of most of the movies that have been presented in this analysis.

There seems to be no distinct style of kung fu presented in Stephen Chow’s movies.  For instance, “Kung Fu Hustle” depicts ancient kung fu styles in much variety, while “Shaolin Soccer” depicts Shaolin kung fu in particular.  Chow seems to choose from the many styles of kung fu in his movies, adding to the breadth and the many different depictions available that fits the themes of the movies.

Mo Lei Tau

Perhaps the theme most realized by audiences is the usage of mo lei tau, which is a largely significant theme in Stephen Chow’s movies.  Mo lei tau refers to the nonsensical brand of comedy as portrayed in film.  Chow’s movies make use of mo lei tau accordingly in most of his movies.

The characterization of mo lei tau is from film within that of Hong Kong.  It depicts cultural elements in regards to Hong Kong.  The humor takes on the shape of parodies, surprises, and other outlandish behavior and dialogue.

Mo lei tau plays significant attention to puns and other word tricks.  These techniques develop reminiscent to the poems of Edward Lear, in that brand of nonsensical language.  Generally mo lei tau uses a significant number of cultural references in order to create humorous scenes and dialogues.

In general the films of Stephen Chow are quite filled with mo lei tau.  It is an overwhelmingly significant theme within Chow’s films, creating humor in almost every film attributed to Chow.  Chow’s use of mo lei tau can be seen as following the work of the Hui brothers and Jackie Chan’s “Fantasy Mission Force.”

It should be noted that mo lei tau is not constrained to humor in itself, so to speak.  The action sequences and depictions of martial arts also take on this comedic element.  For instance, while “The God of Cockery” makes use of mo lei tau elements, while “Kung Fu Hustle” and other movies intersperse elements of mo lei tau into the depictions of martial arts and action sequences.  Chow uses this brand of humor within martial arts and actions sequences in order to saturate the film in this theme.  It creates films that revolve primarily around elements of mo lei tau, as Chow is known.

Popularity in China

Chow’s popularity in China can be seen along the lines of what he has accomplished in film.  Certainly mo lei tau in film had not been fully developed, and it could even be said that it was beginning in development and in significance, before Chow began making films in this genre.  With respect to this, Chow is recognized as one of the chief practitioners of this genre in film.

Chow’s films in Hong Kong are certainly known for mo lei tau, and also for the incorporation of martial arts.  As martial arts, and specifically kung fu, movies are extremely popular in China and Hong Kong, Chow’s films offered a different perspective in this genre as well.  Audiences are always looking for promising new martial arts films.

However, Chow’s films offer something much different.  Of course, the humor presented in his films, and thus the incorporation of this into the theme of martial arts, do not represent something that has been seen before, at least not commonly.  Chow’s novel approach to the development of humor and martial arts in this fashion is quite novel for audiences in China and Hong Kong.

This is likely what could account for some of Chow’s popularity in China.  Audiences want to see something different, something unique.  When you consider the martial arts and humorous elements in his films, it is certainly that.  Chow’s films institute advances in martial arts and mo lei tau films.

Implications for Chinese Culture

Chinese culture can be seen as further enriched by the popularity of Chow’s films.  It expresses a love of martial arts and kung fu, special effects, and certainly elements of mo lei tau.  Chow is successful in appealing to many in China, which allows Chinese culture to be examine, even in a jesting and parodied manner.

While it could certainly be argued that Chow has belittled Chinese culture, it has also raised awareness of culture in China.  Similar to sketch comedies in the United States, Chow’s films allow audiences to find enjoyment and laugh at different cultural elements.  In fact, the implications for Chinese culture, in respect to Chow’s films, can be seen in regards to Chow’s popularity in the United States.

Chow’s influence in the United States reveals the interest in Chinese culture.  American audiences have been interested in martial arts films for centuries, with actors such as Bruce Lee, Jet Li, Jackie Chan, and others.  Exaggerated special effects has also drawn American audiences as well, as it can be seen in the hit “Crouching Tiger, Hidden Dragon” in the United States.  Kung fu movies have held a high status in the U.S.

Like Hong Kong audiences, American audiences find enjoyment in the comedic features of such movies.  From “Monty Python” to “Scary Movie,” audiences enjoy slapstick and other genres that go hand-in-hand with Chow’s comedic style.  Audiences certainly find these themes entertaining.

As these elements come together, it is not difficult to see the implications for Chinese culture.  Audiences domestically and internationally are interested in Chinese culture.  Certainly, when modern influences are present, such as in the exaggerated humor that Chow brings, certain audiences are drawn to films like these.

Influence

A large influence for Stephen Chow is in that of Bruce Lee.  Chow, like many others, was drawn to kung fu movies that starred this infamous character in personality.  Certainly Bruce Lee’s influence can be felt in movies and martial arts alone, and together.

This influence can be seen to permeate Chow’s style of films.  Chow carries the theme of kung fu and martial arts in general in most of his movies, as it has been identified.  In this important influence on Chow, can we see the popularity of Chow in a different light, as Chow has continued the martial arts genre, albeit in a different approach.

Conclusion

Stephen Chow remains an immensely popular figure in Hong Kong and China, and increasingly in the United States and other areas.  The five aforementioned films create the many themes that are presented in Chow’s films.  Interestingly, the wide variety in subject content, and even in the diverging from normal lines of films, goes to Chow’s credit in regards to his versatility.

The theme of martial arts is significant in Chow’s movies.  It captures the viewer’s interest as kung fu films are very popular in China and around the globe.  The martial arts sequences and special effects are significant and common themes within Chow’s films.

Perhaps the most noticeable theme in Chow’s films is his integration of mo lei tau.  It brings a unique brand of humor to his films, where culture in Hong Kong is parodied and represented with various devices, such as word tricks.  Also extending to martial arts, Chow’s distinctive humor characterizes most of his films and accounts for his unique approach in films.