Film Review: The Chinese Feast
- Very Average Joe
- Jul 30
- 3 min read
English Title: The Chinese Feast
Chinese Title: 金玉滿堂 [lit. house full of gold and jade]
Director(s): Tsui Hark
Screenwriter(s): Philip Cheng, Ng Man-fai, Tsui Hark
Studio: Mandarin Films Ltd, Film Workshop
Released: 1995
Runtime: 1h 42m
Starring: Leslie Cheung, Anita Yuen, Law Kar-ying, Kenny Bee, Vincent Zhao, Xiong Xin-Xin
The Chinese Feast is a classic Hong Kong comedy-drama released in January 1995. The native title somewhat reflects the feast, and as a phrase describing wealth and abundance is presumably referring to the Chinese New Year given the timing of the film’s theatrical release.
The plot follows Chiu (Leslie Cheung), who is a triad but now aspires to be a chef, albeit not successfully. Through a chance meeting and recommendation, he meets chef and restaurateur Au Siu-fung (Law Kar-ying) and his daughter Au Ka-wai (Anita Yuen).
Au is then threatened by Wong Wing (Xiong Xin-Xin) who wants to take over his restaurant. Wong challenges him to cook the Manchu–Han Imperial Feast (滿漢全席); if Au loses, he loses his restaurant. Outgunned and out-maneuvered, Au recruits Liu Kit (Kenny Bee), a talented chef who faded into obscurity five years ago.
The premise is similar to many comedies: the villain issues a challenge with something important at stake—in this case, their livelihood—and the good guys must defend themselves.
It is also about redemption: Liu lost his woman and career, Chiu is trying to leave the triads and be something legitimate, and Au Siu-fung and Au Ka-wai don’t exactly get along as father and daughter.
Although the general plotline and character arcs are mostly conventional, the film, on balance, is executed well in every respect.
Anita Yuen as Au Ka-wai is just nuts, at least initially, before toning it down later. The writing could have kept more of that character’s craziness throughout. Leslie Cheung plays it cool, as does Kenny Bee, and Law Kar-ying really sells it as the frustrated father and boss as one would expect from such a veteran.
The structure is arguably a little odd [Minor Spoiler] in that Liu Kit is introduced in the opening and does not reappear until he needs to, and Au Siu-fung disappears for a while in the second act.
However, the film still works because there is always movement. Chiu and Au Ka-wai are the main viewpoint characters so the plot always follows them, and they are strong characters with Leslie Cheung and Anita Yuen giving equally strong performances.
The pacing is steady. One could argue comedies such as this could be a few minutes shorter. The opening act is indeed unhurried as it focuses on Chiu’s entry into the world of Chinese restaurants at Au’s. But this is easily compensated for by the comedy and the strong characters; after all, they are strong characters because time is taken to establish them and their relationships.
The film obviously satirizes Chinese cooking and the hospitality industry in general. One doesn’t need to have experience in hospitality to find it funny, but those who have worked in a Chinese restaurant kitchen will appreciate particular moments more and find them to be a laugh riot.
There are also moments of slapstick and absurdist humor, as well as sharp dialogue characteristic of Hongkie attitude. Obviously, it requires at least a general appreciation of Cantonese and the quality of the subtitles is typically lacking.
Like most comedies, it does settle a bit; it’s not laugh-out-loud from start to finish, and it could take the satire and to parody further, but it is nonetheless entertaining.
Visually, it is shot and edited nicely. Unlike a lot of dramas that can merely be “one-shot, one-shot, two-shot”, director Tsui Hark and cinematographers Peter Pau and Poon Hang-sang make good use of various camera angles and moving frames. This is not merely for the shots of the cooking and dishes; it is used throughout in a measured way. There may be one or two instances in which it is a little overdone, but it is generally done with good effect and without being pretentious.
The lighting for the interior scenes is also very good, setting the tone by using a consistent palette for that scene. Film editor Marco Mak does a seamless job putting it together.
Overall, despite the few minor issues, it is a thoroughly well-produced and entertaining film. Cooking shows and comedy films on cooking did exist in those years, but it is funny (and sad) that what this film satirizes is today pretentiously presented in all seriousness in reality cooking shows featuring hacks who can’t cook.
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