Title: Tony Leung’s ’97 Aces Go Places: A Forgotten Gem of Hong Kong’s Post-Colonial Comedy
In the vast landscape of Hong Kong cinema, few films encapsulate the chaotic charm and cultural anxieties of the late 1990s like ’97 Aces Go Places (1997), directed by Joe Cheung and starring Tony Leung Chiu-wai. Often overshadowed by Wong Kar-wai’s arthouse classics or the Infernal Affairs trilogy, this action-comedy hybrid offers a unique lens into Hong Kong’s identity crisis during the handover era. Blending slapstick humor, crime tropes, and subtle political commentary, the film is a time capsule of a society grappling with uncertainty—and Tony Leung’s underrated comedic talent shines brightly here.
- Contextualizing the Film: Hong Kong’s 1997 Handover and Cinematic Rebellion
-’97 Aces Go Places* arrived at a pivotal moment: months before Hong Kong’s return to Chinese sovereignty. The film’s very title nods to the iconic Aces Go Places series of the 1980s, which starred Samuel Hui and Karl Maka as bumbling detectives. However, this 1997 iteration—a loose spin-off—reimagines the formula with darker edges and meta-commentary. The plot follows Johnny (Tony Leung), a drunken undercover cop nicknamed “Drunken Gun,” and Ho (Alan Tam), the reluctant heir to a triad empire, as they navigate absurd gang wars and personal redemption.
What sets the film apart is its unspoken tension about Hong Kong’s future. Scenes like Ho’s mother pressuring him to lead the triad (“We need stability now!”) mirror societal fears of post-colonial upheaval. Even the film’s chaotic tone—swinging between goofy gags and sudden violence—reflects a city unsure whether to laugh or brace for impact.
- Tony Leung: Subverting the “Brooding Icon” Persona
Long before his Oscar-contending roles, Tony Leung was a master of genre versatility. In ’97 Aces Go Places, he plays against type as Johnny, a disheveled, alcoholic cop whose tragic past fuels his self-destructive habits. Unlike his restrained performances in In the Mood for Love or Chungking Express, Leung here embraces physical comedy: imagine a drunken tango with a revolver, or a pratfall-laden training montage where he teaches Ho to shoot.
Yet, beneath the slapstick lies depth. In one scene, Johnny stares at a photo of his deceased partner, muttering, “I drink to forget, but the bottle just remembers for me.” This duality—clownish exterior masking inner torment—echoes the film’s broader theme of hiding vulnerability behind humor. It’s a reminder that Leung’s brilliance isn’t confined to arthouse melancholy; he can make you cry laughing before gut-punching you with pathos.
- The Triad Farce: Satire Meets Spectacle
The film’s plot revolves around Ho’s struggle to avenge his triad-leader father, killed during a botched deal with the seductive con artist Mona (Christy Chung). What follows is a series of escalating absurdities:
- Surreal Action: A shootout in a fish market where adversaries wield sausages as weapons.
- Meta-Humor: A cameo by Aces Go Places’ original composer, Sam Hui, winking at the franchise’s legacy.
- Gender Role Flip: Mona, played by Chung with lethal glamour, outsmarts every male character, subverting the “damsel in distress” trope .
Director Joe Cheung employs rapid-fire editing and cartoonish violence reminiscent of Jackie Chan’s early work, but with a nihilistic twist. When Ho accidentally shoots a portrait of Leslie Cheung (a real-life pop icon), the scene mocks triad idolatry and celebrity culture—a bold move in 1997’s star-driven industry.
- Cultural Crosscurrents: Cantonese Humor vs. Global Audiences
Western viewers might find the film’s humor jarring—think exaggerated facial expressions, pun-heavy Cantonese wordplay, and fourth-wall breaks. For instance, a running gag involves Ho’s mother (Maria Cordero) parodying Alan Tam’s real-life persona: “You’re 25 forever? Even the mirror knows you’re lying!” . Such jokes rely on local star lore, but the physical comedy and universal themes (family pressure, redemption) transcend language barriers.
The film also critiques Hong Kong’s colonial hangover. Scenes filmed in neon-drenched alleys and cramped apartments contrast with Ho’s sterile mansion, symbolizing the clash between grassroots identity and imported capitalism. Even the triads’ obsession with “face” (reputation) mirrors a society anxious about losing its global stature post-handover.
- Legacy: Why ’97 Aces Go Places Deserves Rediscovery
Despite its flaws—uneven pacing, over-the-top villains—the film remains culturally significant. For Tony Leung completists, it showcases his range beyond brooding auteurs. For cinephiles, it’s a snapshot of Hong Kong’s cinematic identity crisis: clinging to 1980s nostalgia while nervously eyeing the future.
The movie’s soundtrack, blending Sam Hui’s classic Aces theme with Alan Tam’s ballad Half-Asleep, Half-Awake, bridges generations of Cantopop . Meanwhile, its box office failure (overshadowed by Happy Together and Made in Hong Kong) underscores the industry’s pivot toward arthouse and crime dramas in the late ’90s.
For international audiences, ’97 Aces Go Places offers more than laughs—it’s a riotous, messy ode to a city laughing through its tears. As Johnny quips while dodging bullets, “If life’s a joke, better learn the punchline before it learns you.”
Conclusion: A Toast to Chaos
In an era where Hong Kong cinema oscillated between political allegory and commercial escapism, ’97 Aces Go Places dares to be both. Tony Leung’s performance—equal parts clown and tragic hero—anchors the madness, while Christy Chung’s Mona prefigures the rise of complex female antiheroes. For viewers weary of sanitized blockbusters, this film is a chaotic masterclass in finding meaning (and mirth) in the absurd.
As the credits roll to the tune of a drunken karaoke session, one leaves reminded: sometimes, the best way to face an uncertain future is to laugh louder than your fears.
References to Hong Kong Cinema Context:
- For Tony Leung’s filmography and career evolution .
- Analysis of 1997 handover themes in Hong Kong cinema .
- Christy Chung’s role and gender dynamics .
- Behind-the-scenes trivia on director Joe Cheung’s vision .