The Best Boyfriend (1989): A Time Capsule of Hong Kong’s Golden Age of Romantic Comedy, Hong Kong Cinema Historian
Amidst Andy Lau’s iconic filmography of gangster epics and heroic bloodshed films, The Best Boyfriend (1989) stands out as a sparkling gem of 1980s Hong Kong romantic comedy – a genre that blended slapstick humor, social commentary, and star power with inimitable local flavor . Directed by Lawrence Cheng and written by Wong Jing (the mastermind behind God of Gamblers), this underrated workplace rom-com offers international audiences a delightful gateway into Hong Kong’s unique cinematic language and societal transitions during its pre-handover golden era.
I. Contextualizing the “Best Boyfriend” Phenomenon
Released during Hong Kong cinema’s peak commercial period (1985-1995), the film reflects several cultural touchstones:
- Post-colonial identity: The story’s toy company setting symbolizes Hong Kong’s role as a global manufacturing hub bridging East and West .
- Gender dynamics: Lead character Ka Kei (Carol Cheng) represents the rising professional woman class in late-1980s Hong Kong, inheriting her father’s empire while navigating patriarchal corporate culture .
- Celebrity culture: Andy Lau’s casting as Peter, the rebellious designer, leveraged his real-life “Best Boyfriend” public image cultivated through Cantopop stardom and earlier romantic roles .
The plot’s central conflict – Ka Kei’s brother scheming to transfer corporate control by orchestrating romantic pursuits – satirizes inheritance laws and family power struggles prevalent in Hong Kong’s business dynasties .
II. Andy Lau’s Comic Mastery Against Type
While Lau is globally renowned for intense roles in Infernal Affairs or House of Flying Daggers, The Best Boyfriend showcases his underappreciated comedic range:
- Physical comedy genius
Watch how Lau uses exaggerated facial expressions during the “flower delivery misunderstanding” scene (a pivotal plot device) . His bug-eyed shock and flailing limbs channel Buster Keaton-esque slapstick while retaining Cantonese cultural specificity. - Romantic chemistry dynamics
Lau’s playful rivalry with Carol Cheng subverts traditional rom-com gender roles. Notice their wardrobe symbolism:
- Peter: Leather jackets and untucked shirts → Creative nonconformity
- Ka Kei: Power suits with shoulder pads → Corporate rigidity
Their gradual role reversal (Ka Kei embracing vulnerability, Peter demonstrating responsibility) mirrors Hong Kong’s own identity negotiations between tradition and modernity .
III. Wong Jing’s Signature Formula Decoded
Writer Wong Jing employs his trademark “three-layered comedy” technique:
| Layer | Example from Film | Cultural Context |
|---|---|---|
| Slapstick | Peter accidentally dyes Ka Kei’s dog | Universal physical humor |
| Verbal wordplay | Cantonese puns about “toy design” | Untranslatable linguistic humor |
| Social satire | Brother’s inheritance conspiracy | Critique of wealth obsession in 1980s HK |
The film’s most brilliant meta-joke lies in its title – while marketed as a conventional rom-com, it subtly questions what makes a “best boyfriend” through Peter’s journey from immaturity to creative integrity .
IV. Workplace as Microcosm of 1980s Hong Kong
The toy company setting serves as an anthropological study:
- East-West fusion aesthetics
Production designer Oliver Wong creates a visual clash:
- Traditional Chinese elements: Feng shui-aligned desks, tea sets in meetings
- Western influences: Abstract modern art, European-style boardrooms
This mirrors Hong Kong’s hybrid identity as both Chinese city and British colony.
- Labor hierarchy rituals
Junior employees’ exaggerated bowing to Ka Kei satirizes Confucian corporate culture, while Peter’s Western-educated defiance represents incoming globalized values . - Creative vs. commercial tension
The toy design competition subplot (Peter’s artistic vision vs. market demands) analogizes Hong Kong cinema’s own struggle between artistic ambition and commercial pressures during its 1980s boom .
V. Legacy and Modern Relevance
While overlooked in Lau’s filmography, The Best Boyfriend pioneered trends still relevant today:
- Proto-feminist narrative
Ka Kei’s arc from icy CEO to emotionally balanced leader predates Hollywood’s “female empowerment” stories by decades. Her final decision to share power with Peter (rather than submit or dominate) offers a distinctly Hong Kong feminist resolution . - Blueprint for K-drama tropes
The fake dating schemes and inheritance conflicts foreshadow popular K-drama devices seen in Crash Landing on You or What’s Wrong With Secretary Kim. - Time capsule of vanished HK
The film preserves:
- Language: Mix of British administrative terms (“CEO”) and Cantonese slang
- Locations: Extinct neon-lit districts of pre-1997 Kowloon
- Fashion: Shoulder pad power suits and permed hairstyles
A poignant scene shows characters debating whether to relocate factories to mainland China – a prophetic nod to Hong Kong’s impending industrial shifts .
VI. Why Global Cinephiles Should Watch
- Genre-blending mastery: Experience comedy that seamlessly incorporates family drama, corporate thriller elements, and social commentary.
- Andy Lau’s versatility: Witness the superstar’s transition from teen idol to serious actor.
- Cultural archaeology: Understand 1980s Hong Kong beyond gangster films and martial arts epics.
The film’s ultimate message – that the “best” partner inspires personal growth rather than fulfilling checklists – transcends cultural boundaries, making it a hidden classic worthy of international rediscovery.
-Where to Watch*: Available with English subtitles on Asian cinema platforms. Pair it with documentaries about 1980s Hong Kong economic transformation for enhanced context