Title: The Eighth Happiness (1988): Chow Yun-fat’s Comic Mastery and the Golden Age of Hong Kong Lunar New Year Cinema
In the glittering constellation of Hong Kong’s cinematic golden age, few films capture the exuberance of the era like The Eighth Happiness (八星报喜, 1988). Directed by Johnnie To’s frequent collaborator, Derek Yee, and produced by the iconic Cinema City, this star-studded Lunar New Year comedy is a kaleidoscope of laughter, romance, and familial chaos. At its heart lies Chow Yun-fat, whose flamboyant, gender-bending performance redefined his on-screen persona and cemented the film as a cultural touchstone. For Western audiences unfamiliar with Hong Kong’s festive cinematic traditions, The Eighth Happiness is more than a comedy—it’s a joyous gateway into a world where slapstick meets sincerity, and where Chow Yun-fat proves why he is hailed as “the King of Hong Kong Cinema.”
- A Lunar New Year Extravaganza: Plot and Cultural Context
Set against the backdrop of 1980s Hong Kong, The Eighth Happiness revolves around the Fong family’s three brothers, each navigating love in hilariously dysfunctional ways. The eldest, Fong Kei (Kenny Bee), is a stoic chef entangled in a comically mismatched romance with a divorcee (played by Feng宝宝). The youngest, Fong Sing (Jacky Cheung), embodies shy innocence as he stumbles into a sweet courtship with a free-spirited artist (Yuen Kui-ying). But it is Fong Lung (Chow Yun-fat), the middle brother, who steals the show as a flamboyant, cross-dressing Casanova juggling multiple lovers, including a fiery flight attendant (Carol Cheng) and a seductive socialite (Cherie Chung).
The film’s premise—a chaotic blend of mistaken identities, romantic misadventures, and familial bonds—is steeped in the Lunar New Year tradition of “he sui pian” (贺岁片), or festive films. These movies prioritize star power, lighthearted humor, and feel-good resolutions, reflecting the cultural emphasis on family unity and optimism during the holiday season. The Eighth Happiness epitomizes this genre, delivering a riotous yet heartwarming narrative that resonated deeply with local audiences, earning it the title of 1988’s highest-grossing Hong Kong film.
- Chow Yun-fat: Shattering the “Hero” Mold
By 1988, Chow Yun-fat was already a megastar, thanks to his gritty roles in A Better Tomorrow (1986) and City on Fire (1987). However, The Eighth Happiness marked a daring departure—a full-throttle embrace of campy comedy that showcased his versatility. As Fong Lung, Chow dons garish outfits, flaunts a exaggeratedly effeminate swagger, and delivers lines with a theatrical flair that borders on Shakespearean. In one unforgettable scene, he cross-dresses for a Cantonese opera performance, lip-syncing to a rewritten version of The Purple Hairpin while exchanging comedic barbs with Jacky Cheung.
This role was revolutionary. At a time when Hong Kong cinema glorified machismo, Chow’s portrayal of a “娘娘腔” (effeminate man) challenged gender norms and subverted audience expectations. As Chow himself reflected: “I wanted to push the character to the edge—to make him so over-the-top that audiences couldn’t look away. It was risky, but laughter became my armor”. The performance not only solidified his status as a box-office magnet but also influenced future comedies, inspiring actors like Stephen Chow to explore absurdist humor.
- Derek Yee’s Directorial Playbook: Chaos with Heart
While The Eighth Happiness is often overshadowed by John Woo’s bullet ballets or Wong Kar-wai’s moody romances, director Derek Yee deserves acclaim for balancing slapstick with emotional depth. Yee employs a frenetic visual style—zooming in on exaggerated facial expressions, choreographing chaotic group scenes, and using vibrant colors to heighten the festive atmosphere. The film’s opening sequence, where the three brothers bicker over a broken telephone, sets the tone: rapid-fire dialogue, physical gags, and a sense of controlled anarchy.
Yee also cleverly integrates meta-commentary on Hong Kong’s entertainment industry. Fong Lung’s subplot as a struggling actor in a drama school parodies the very system that groomed Chow Yun-fat, offering a cheeky nod to the artifice of stardom. Meanwhile, the film’s climax—a lavish Cantonese opera performance—serves as both a narrative resolution and a celebration of Hong Kong’s cultural heritage, blending tradition with modernity.
- Cultural Significance: A Mirror of 1980s Hong Kong
Beneath its comedic surface, The Eighth Happiness reflects the social anxieties and aspirations of late-1980s Hong Kong. The city, then on the brink of its 1997 handover, grappled with identity crises and economic uncertainty. The Fong family’s chaotic yet ultimately harmonious dynamic mirrors the collective desire for stability and unity.
The film’s gender-bending humor also carries subtle sociopolitical undertones. Fong Lung’s effeminacy and sexual fluidity—a rarity in mainstream cinema at the time—can be read as a metaphor for Hong Kong’s own “in-between” status: no longer fully British, not yet Chinese, and defiantly unique. Chow’s character, with his audacious fashion and unapologetic charisma, becomes a symbol of the city’s rebellious spirit.
- Why Global Audiences Should Rediscover This Gem
For Western viewers, The Eighth Happiness offers a refreshing antidote to Hollywood’s often formulaic comedies. Here are three reasons to watch: - Chow Yun-fat’s Tour-de-Force: Witness one of cinema’s greatest actors in a role that defies typecasting, blending physical comedy with unexpected pathos.
- A Cultural Time Capsule: Experience 1980s Hong Kong—its fashion, music, and unbridled optimism—through a lens that’s both nostalgic and insightful.
- The Art of Ensemble Comedy: The chemistry among Chow, Jacky Cheung, and Carol Cheng is electric, a masterclass in timing and camaraderie rarely matched in modern films.
While the film’s VHS-era aesthetic and Cantonese wordplay may initially feel alienating, its universal themes—love, family, and self-reinvention—transcend cultural barriers. As critic Li Cheuk-to noted, “The Eighth Happiness isn’t just a comedy; it’s a love letter to Hong Kong’s resilience”.
Conclusion: Laughter as a Universal Language
-The Eighth Happiness* endures not merely as a comedy but as a testament to Chow Yun-fat’s genius and Hong Kong cinema’s golden era. Its unapologetic silliness, paired with heartfelt moments, reminds us that laughter is a bridge between cultures. In an age dominated by CGI spectacles and dystopian narratives, this film invites viewers to embrace joy in its purest form—a chaotic, glittering, and utterly human celebration.
So, this Lunar New Year (or any time), gather your loved ones, stream the restored print, and let Chow Yun-fat’s pink scarves and mischievous grin transport you to a world where happiness, indeed, comes in eighths.