Title: “Tony Leung’s Comic Genius Revisited: Why I Want to Be a Model Reflects Hong Kong’s Satirical Soul”
When we think of Tony Leung Chiu-wai, images of his melancholic gazes in Wong Kar-wai’s films or his brooding intensity in Infernal Affairs come to mind. Yet, hidden within his illustrious career lies a lesser-known facet: his mastery of absurdist comedy. I Want to Be a Model (2004), though often overlooked in discussions of Leung’s filmography, is a riotous satire of vanity and societal ambition that deserves global attention. This film not only showcases Leung’s underrated comedic timing but also serves as a cultural time capsule of early-2000s Hong Kong, where materialism and identity crises collided in hilarious and poignant ways.
- Tony Leung’s Unconventional Role: A Subversion of the “Leading Man” Trope
In I Want to Be a Model, Leung plays Moses, a washed-up former model clinging to the remnants of his glory days. Unlike his typically restrained or emotionally complex roles, here Leung embraces slapstick and self-deprecation. His character’s delusional confidence—parading in outdated outfits and delivering cringe-worthy poses—becomes a metaphor for Hong Kong’s post-handover identity struggle. The film cleverly mocks the modeling industry’s superficiality, with Leung’s exaggerated facial expressions and physical comedy (e.g., tripping over runway props or botching photo shoots) highlighting the absurdity of chasing fleeting fame.
Leung’s performance echoes his earlier comedic roles, such as the bumbling cop in The Royal Scoundrel (1991), where he balanced humor with vulnerability. In interviews, Leung has admitted that comedy allows him to explore “the freedom of imperfection,” a stark contrast to his methodical preparation for dramatic roles.
- Satire as Social Commentary: Hong Kong’s Love-Hate Relationship with Glamour
Directed by Matt Chow, I Want to Be a Model uses the fashion world to critique Hong Kong’s obsession with status. The protagonist’s desperate attempts to stay relevant—including mentoring a clueless newcomer (played by Sammy Leung)—mirror the city’s own scramble to reinvent itself amid economic uncertainty. Scenes like a modeling competition judged by caricatured industry “experts” (e.g., a designer obsessed with neon spandex) lampoon the arbitrariness of trends and the commodification of beauty.
This theme resonates with Leung’s own career trajectory. Having risen from TVB’s comedic roles to arthouse acclaim, he embodies Hong Kong’s duality: a place where highbrow and lowbrow cultures coexist. The film’s absurdity, such as a subplot involving a rival model who practices “extreme catwalking” on construction sites, reflects the city’s chaotic energy.
- The Film’s Legacy: Bridging Generational Humor
While I Want to Be a Model was panned by critics for its crude jokes, its cult following lies in its unapologetic embrace of camp. The movie’s humor—a mix of Cantonese wordplay, visual gags, and meta-references—translates surprisingly well to international audiences. For instance, Moses’s mantra, “A model’s life is like a diamond: hard but dazzling,” becomes a tragicomic anthem for anyone clinging to outdated dreams.
Leung’s chemistry with co-stars, particularly his deadpan interactions with veteran actor Eric Kot, adds depth to the farce. Their dynamic mirrors classic comedic duos like Laurel and Hardy, where mismatched personalities collide to reveal universal truths about friendship and failure.
- Why This Film Matters in Leung’s Career
Often dismissed as a “guilty pleasure,” I Want to Be a Model is crucial for understanding Leung’s range. Unlike his meticulously crafted roles in films like Lust, Caution or Hero, here he improvises with chaotic spontaneity. In one scene, Moses tries to revive his career by staging a photoshoot in a landfill—a metaphor for artistic reinvention that parallels Leung’s own willingness to take risks, such as his recent foray into Hollywood blockbusters.
The film also foreshadows themes in Leung’s later work. Moses’s existential crisis—”Am I a has-been or a never-was?”—echoes the introspective characters he’d portray in The Grandmaster or Shanghai Blues, blending humor with melancholy.
- A Gateway to Hong Kong’s Cultural Zeitgeist
For international viewers, I Want to Be a Model offers more than laughs; it’s a primer on Hong Kong’s post-colonial identity. The film’s frenetic pacing and hybrid genres (comedy, drama, satire) mirror the city’s own fragmented yet resilient spirit. References to local phenomena—like the rise of “Lai Wong” (outspoken TV hosts) or the 2003 SARS recovery—ground the absurdity in real-world struggles.
Leung’s performance bridges these contrasts. His ability to shift from buffoonery to quiet introspection—such as a late-night monologue about aging—reveals the humanity beneath the satire. It’s a reminder that even in frivolity, Hong Kong cinema never loses its emotional core.
Conclusion: Rediscovering Tony Leung’s Comic Roots
-I Want to Be a Model* may lack the polish of Leung’s award-winning dramas, but its raw humor and cultural insights make it a vital piece of his legacy. For global audiences, the film is a gateway to understanding Hong Kong’s irreverent spirit and Leung’s versatility as an actor who refuses to be pigeonholed.
As Moses declares in the film’s climax, “Fashion fades, but style is forever.” Similarly, while trends in cinema come and go, Tony Leung’s ability to transform even the silliest roles into art ensures his enduring relevance. Stream this underappreciated gem, and discover why laughter—like great acting—transcends language and borders.