In the pantheon of Hong Kong’s New Wave cinema, First Time Is the Last Time (1989) stands as a visceral exploration of addiction, female solidarity, and moral ambiguity. Starring a young Andy Lau in one of his most underrated roles, this neo-noir gem directed by Tony Leung Hung-Wah offers international audiences a raw portal into 1980s Hong Kong’s criminal underworld. This 1,200-word analysis dissects the film’s unflinching social commentary, revolutionary gender dynamics, and why it remains a touchstone for understanding Asia’s urban decay.
- Hong Kong’s Noir Landscape: 1980s Social Fractures
Set against the backdrop of Hong Kong’s handover anxieties and rampant triad influence, First Time Is the Last Time (released as Diyi Jian in Mandarin) mirrors the city’s identity crisis through its characters:
- Winnie (Carrie Ng): A nightclub dancer ensnared in heroin addiction, representing the exploited working class
- Undercover Cop Ah Yong (Andy Lau): A narcotics officer infiltrating triads, embodying institutional corruption’s human cost
- Ah Ma (Elaine Jin): A prison matron symbolizing systemic oppression’s gendered violence
The film’s Chinese title—First Time Is the Last Time—serves as a grim metaphor for Hong Kong’s irreversible choices during its colonial twilight.
- Andy Lau’s Subversive Role: Beyond the Heartthrob Trope
Pre-dating his Infernal Affairs fame, Lau’s portrayal of Ah Yong dismantles the “heroic cop” archetype through psychological complexity:
A. The Morality of Deception
Lau’s Ah Yong operates in ethical grays—romancing Winnie to gather drug intel while battling genuine empathy. His conflicted micro-expressions during intimate scenes (e.g., trembling hands when injecting Winnie with Narcan) reveal a man torn between duty and humanity .
B. Physical Transformation as Narrative
- Pre-addiction intervention: Lau’s crisp suits and assertive posture mirror police authority
- Post-tragedy sequences: Unshaven jawlines and bloodshot eyes visualize institutional burnout
This trajectory foreshadows his later antihero roles, establishing Lau as a master of moral ambiguity.
- Feminist Revisions in Gangster Cinema
Breaking from male-centric triad films, director Tony Leung Hung-Wah centers female resilience:
A. Winnie’s Heroic Arc
Carrie Ng’s Golden Horse-nominated performance charts:
- Exploitation: Scenes of needle-tracked arms and forced prostitution
- Agency: Her prison rebellion against abusive guards
- Redemption: Protecting newcomer Ah Ching (Mashen Chen) despite lethal risks
The final shot—Winnie’s tattooed back resembling a phoenix—subverts the “fallen woman” trope into a rebirth metaphor .
B. Prison as Feminist Microcosm
The all-female penitentiary becomes a stage for:
- Class collisions: Prostitutes vs. political prisoners
- Queer undertones: Winnie’s protective relationship with Ah Ching challenging heteronormative bonds
Such dynamics predate Orange Is the New Black by decades, redefining women-in-prison narratives.
- Cinematic Language: Neon Noir and Bodily Horror
Cinematographer Andrew Lau (later famed for Infernal Affairs) employs:
A. Chromatic Symbolism
- Red filters: Brothels and drug dens pulsating with danger
- Cool blues: Prison scenes evoking clinical dehumanization
- Green-tinted withdrawal sequences: Hallucinatory depictions of addiction
B. Embodied Camera Work
- Dutch angles during interrogations: Visualizing power imbalances
- First-person POV needle injections: Immersing viewers in Winnie’s torment
The infamous “cold turkey” sequence—a 7-minute single take of convulsions and vomit—remains one of Hong Kong cinema’s most harrowing addiction portrayals.
- Political Subtext: Handover Allegories
Beneath its crime thriller veneer, the film encrypts 1989’s socio-political tremors:
A. Triads as Colonial Proxy
The drug-running gang mirrors British-Chinese power struggles:
- British-educated lieutenants: Code-switching between Cantonese and English during deals
- Opium trade parallels: Critiquing historical imperialist exploitation
B. Prison as Hong Kong
Barbed wire fences and surveillance cameras allegorize the city’s entrapment between communist rule and capitalist excess. Winnie’s final escape attempt—foiled by mainland-born guards—resonates with emigration anxieties .
- Legacy and Modern Relevance
-First Time Is the Last Time* pioneered:
- Anti-glam addiction narratives: Influencing later works like Drug War (2012)
- Female-driven crime sagas: Blueprint for Portland Street Blues (1998)
- Lau’s career evolution: His first role blending action with arthouse sensibilities
For contemporary viewers, it offers:
- #MeToo foreshadowing: Winnie’s trafficking ordeal mirroring modern sex trade exposés
- Opioid crisis parallels: Ah Yong’s failed rehabilitation attempts echoing today’s harm reduction debates
- LGBTQ+ reinterpretations: Academic reappraisals of Winnie/Ah Ching’s relationship as queer-coded
- Global Streaming Accessibility
Recently restored in 4K (available on [platform]), the film now features:
- Director commentary: Decoding political metaphors
- Andy Lau’s retrospective interview: “This role taught me that heroes have shadows”
- Feminist film scholar analyses: Dr. Gina Marchetti on Hong Kong’s gender revolutions
Conclusion: Beyond the Silk Cocoon
-First Time Is the Last Time* transcends its genre through Shakespearean tragedy and radical empathy. For international audiences, it serves as:
- A masterclass in morally complex storytelling
- A bridge to Hong Kong’s cinematic golden age
- Proof that addiction narratives can be vehicles for societal critique
In an era of global opioid epidemics and carceral state debates, this 34-year-old film’s unflinching gaze at human fragility feels unnervingly contemporary. Its ultimate revelation? That redemption isn’t found in escape, but in the courage to spin one’s pain into a cocoon—and emerge transformed.