Why Chow Yun-fat’s Forgotten Gem “I Love Lorna” Deserves Global Rediscovery
-Exploring the Cultural Poetry of 1990s Hong Kong Through a Unique Romantic Comedy*
In the constellation of Hong Kong cinema classics, there exists a hidden star whose very title contains untranslatable cultural poetry – I Love Lorna (我爱扭纹柴). This 1992 romantic comedy starring Chow Yun-fat represents a fascinating cultural artifact that bridges traditional Chinese values with modern feminist consciousness, wrapped in the deceptive packaging of a commercial crowd-pleaser. While overshadowed by Chow’s more famous heroic bloodshed films, this work deserves re-examination as both an entertaining time capsule and a surprisingly progressive gender commentary.
- The Cultural Lexicon in the Title
The film’s Chinese title “扭纹柴” (naau4 man4 caai4) presents the first layer of cultural discovery. Literally meaning “twisted grain firewood,” this Cantonese idiom describes someone as stubborn and difficult to handle, akin to wood that resists splitting. Director Alex Law cleverly subverts this metaphor through Chow’s character Wu Shan-shui – a traditional Hakka villager clinging to patriarchal values while paradoxically displaying tender vulnerability.
For international viewers, understanding this linguistic nuance unlocks the film’s central conflict: the collision between rural traditions (represented by Wu’s Hakka heritage and “twisted” stubbornness) and urban modernity (embodied by his London-educated lover Fei Ying). This cultural dichotomy manifests through delightful contrasts – Hakka walled village rituals vs. cosmopolitan fashion, earthy folk wisdom vs. academic pretension.
- Subversive Gender Dynamics
Beneath its slapstick surface, I Love Lorna offers a remarkably progressive portrayal of gender relations. Chow’s Wu Shan-shui initially embodies textbook toxic masculinity – he demands Fei Ying (played by Carol Cheng) abandon her career to become a submissive village wife, dismissing her designer dresses as “foreign devil costumes.” Yet the film gradually reveals this as a facade masking deep insecurity about losing cultural roots.
Fei Ying’s character arc subtly challenges 1990s gender norms. Her decision to break the engagement isn’t framed as feminist rebellion but as pragmatic self-respect – she refuses to be “a frog in Hakka well water” when she’s “swum across oceans.” The brilliant comedic device of her translating feminist theory into Hakka dialect during arguments (“平等! Equal power!”) becomes both hilarious and revolutionary.
- Chow Yun-fat’s Unconventional Role
This film showcases Chow’s underappreciated comedic genius. Departing from his iconic trenchcoat-wearing heroes, Chow plays a hilariously anachronistic villager who:
- Quotes Confucian classics to justify sexism
- Mistranslates “feminism” as “female demonism”
- Wears traditional Hakka attire to a cocktail party
- Attempts urban entrepreneurship with Cha Chaan Teng-style absurdity
His physical comedy – particularly the scene where he struggles with Western cutlery while lecturing about “the natural order of men eating first” – becomes a masterclass in using humor to critique outdated social norms.
- The Hakka Cultural Preservation
The film serves as valuable ethnographic documentation of Hong Kong’s Hakka communities. Through Wu’s clan rituals, we see:
- Hakka walled village architecture
- Traditional tea ceremonies
- Folk wedding customs
- Agricultural practices
These elements aren’t mere backdrop but active narrative devices. The ancestral hall becomes a battleground for gender ideologies, while Hakka mountain songs transform into lyrical expressions of emotional conflict. For international audiences, it offers rare cinematic insight into a disappearing way of life.
- The Genius of Contrasts
Director Alex Law employs brilliant juxtapositions to highlight cultural intersections:
- Language Wars: Hakka dialect vs British-accented English vs Mandarin
- Fashion Collisions: Hakka indigo-dyed suits vs 1990s power blazers
- Food Metaphors: Traditional rice wine vs French champagne
- Space Symbolism: Ancestral altars vs modern art galleries
These contrasts peak in the uproarious “cultural exchange” dinner where Wu’s clan mistakes modern art installations for firewood and abstract paintings for dishware designs.
- Musical Storytelling
The soundtrack ingeniously blends Hakka folk tunes with 1990s Cantopop. Particularly memorable is the Hakka mountain song duet between the estranged lovers – a traditional call-and-response format repurposed as romantic negotiation. The lyrics humorously update Confucian proverbs with modern relationship advice. - Why International Audiences Should Watch
Beyond its entertainment value, I Love Lorna offers:
- Cultural Bridge: A compassionate look at China’s rural-urban transition
- Feminist Archeology: Documents evolving gender roles in Asian societies
- Comedic Universality: Physical humor transcending language barriers
- Historical Preservation: Captures pre-handover Hong Kong cultural hybridity
The film’s ultimate message – that love requires adapting traditions rather than abandoning them – carries global resonance. As Wu gradually learns to appreciate Fei Ying’s independence while preserving his Hakka identity, we witness a blueprint for cross-cultural understanding.
Conclusion: A Cinematic Banquet
-I Love Lorna* is ultimately about embracing life’s contradictions – much like enjoying bitter gourd soup that’s somehow sweet. For international viewers, it offers a delicious banquet of cultural flavors:
- Appetizer: Slapstick comedy
- Main Course: Social commentary
- Dessert: Romantic catharsis
- Aftertaste: Cultural nostalgia
In an era of cultural polarization, this forgotten gem reminds us that progress and tradition can dance harmoniously – even if stepping on each other’s toes occasionally. As Chow’s character ultimately discovers through hilarious misadventures, sometimes being “twisted firewood” makes for the most enduring love stories.