Film Archive’s “Laughter Double Bill: Hong Kong Comedy Film Spectacular” to showcase film classics of generations of great comedians (with photos)
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In support of the theme “More Than Joy” of the Hong Kong Pop Culture Festival 2025, the Hong Kong Film Archive (HKFA) of the Leisure and Cultural Services Department (LCSD) will present a thematic screening programme, “Laughter Double Bill: Hong Kong Comedy Film Spectacular”, from April 4 to May 11. The programme features 16 classic films spanning the 1940s to 2000s, showcasing the comedic sparks of master comedians from different eras while illustrating the evolution of Hong Kong comedy films.
The opening programme, “Silhouette Resonance x The Banquet (1991)”, will be held on April 4 (Friday) at 3pm at the Grand Theatre of the Hong Kong Cultural Centre (HKCC), which also marks the grand opening of the Hong Kong Pop Culture Festival 2025. Renowned musician Ng Cheuk-yin will reimagine beloved songs from classic comedy films with fresh arrangements to be performed live by pop singer Alfred Hui, a cappella choral theatre company Yat Po Singers, and beatboxer Heartgrey (Eric So) with a live band. Following the performance, the 4K digitally restored version of “The Banquet” (1991) will be screened, blending entertainment with cultural artistry to showcase the vibrancy of Hong Kong’s pop culture.
The screening programme presents classic films alongside more contemporary works, reflecting the changes in Hong Kong’s social and cultural landscapes as well as human relationships. “The Banquet” (1991) is adapted from the film “Feast of a Rich Family” (1959), with a star-studded cast coming together to raise funds for flood relief. The story revolves around a couple, played by Eric Tsang and Dodo Cheng, who host a grand banquet in the name of the husband’s father, played by Richard Ng, to please a wealthy man. The performances of the trio are brilliant, and the numerous star cameos, including those of comedic giants Michael Hui and Stephen Chow, legendary artists Anita Mui, Leslie Cheung, Wong Ka-kui, and internationally renowned Gong Li, add to the dazzling spectacle.
The 4K digitally restored version of “Feast of a Rich Family” (1959) will be screened at the HKCC Grand Theatre on April 4 at 7.30pm. The film, starring the era’s most popular actors and actresses including Ng Cho-fan, Mui Yee, Cheung Ying, Pak Yin, and Cheung Wood-yau, depicts a series of absurd farces stemming from a nouveau riche ostentatious display of wealth, satirising the ridiculousness of people vying to curry favour with the wealthy. The HKFA has specially conducted a 4K digital restoration of this classic, complete with subtitles. Both the sound and image qualities have been significantly improved, making it highly anticipated.
The film “Black Rose” (1965) (2K Digital Version) pioneered the trend of Cantonese cinema featuring female superheroes. The story revolves around two sisters of a wealthy family, played by Nam Hung and Connie Chan Po-chu, who are masked vigilantes that steal from the rich and give to the poor, with a group of unsuspecting wealthy men falling for the heroines, adding to the comedic effects. In “92 The Legendary la Rose Noire” (1992), a series of chaotic and bizarre adventures are triggered by a note undersigned “Black Rose”. Director Jeff Lau blends classic elements of Cantonese films with unexpected humour, and the hilarious performances by Fung Bo-bo, Wong Wan-sze, Teresa Mo, and Tony Leung Ka-fai make this tribute to Cantonese films a classic of Hong Kong comedy films.
In “The Judge Goes to Pieces” (1948), lawyer Sung Sai-kit, played by renowned Cantonese opera performer Ma Si-tsang, seeks justice for a wronged widow with his wife, who is played by Hung Sin Nui. The humorous and loving interactions of husband and wife are portrayed with impeccable comedic timing. In “Justice, My Foot!” (1992), Stephen Chow and Anita Mui portray the legendary couple. Under Johnnie To’s masterful direction, both stars show off their comedic prowess while Mui displays her stunning talent in martial arts.
“My Intimate Partners” (1960) (2K Digital Version) focuses on friendship, with Patrick Tse Yin and Woo Fung playing characters with contrasting personalities but a deep camaraderie. This humorous and touching story also captures the spirit of Hong Kong’s transitioning society in the 1960s. In “He Ain’t Heavy, He’s My Father” (1993) (2K Digital Version), Tony Leung Chiu-wai’s character travels through time to meet and befriend his young father, played by Tony Leung Ka-fai, resulting in a heartwarming and laughter-filled tale.
In the 1960s, the trend of young couple comedies emerged in Cantonese films. “The Diary of a Husband” (1964) (2K Digital Version) directed by Chor Yuen is one of the masterpieces, portraying the aspiration of a middle-class lifestyle in the 1960s with witty and humorous dialogue. “The Diary of a Big Man” (1988), also directed by Chor Yuen, has a completely different storyline. Movie superstar Chow Yun-fat plays a stockbroker and philanderer, navigating relationships between characters played by Joey Wang and Sally Yeh. A series of amusing incidents, along with attractive characters and scenic backdrops, reflect Hong Kong’s then socio-economic conditions, showcasing the era’s affluence through glamorous lifestyles.
Chor Yuen’s diverse works include the romantic comedy “The Pregnant Maiden” (1968) (2K Digital Version), in which Connie Chan Po-chu’s character pretends to be pregnant, leading to a series of hilarious situations as she becomes a sparring partner with Lui Kay’s character. “Dummy Mommy, Without a Baby” (2001) is directed by Joe Ma and Mak Kai-kwong, starring Miriam Yeung. While also centering on the theme of a fake pregnancy, this latter work takes a fresh approach with a contemporary twist as well as featuring Chor Yuen’s last big-screen appearance.
“The Private Eyes” (1976), a classic comedy by the Hui brothers, was written and directed by Michael Hui, who also co-starred with his brothers Sam and Ricky. Their series of humorous mishaps and misunderstandings have already become part of the collective memory. “Fantasia” (2004) pays homage to the Hui brothers’ comedy films by recreating many classic scenes, and the performances of Sean Lau and Francis Ng are particularly amazing.
“Wheels on Meals” (1984) (2K Restored Version), starring Sammo Hung, Jackie Chan, and Yuen Biao, features the trio creating humorous performances with their agile bodies, perfectly blending action and comedy elements. “Rob-B-Hood” (2006) is also an action comedy, where Jackie Chan, Louis Koo, and Michael Hui play thieves who get entangled in a wealthy family’s feud during a mission. Jackie Chan’s signature spectacular fight scenes, combined with the touching moments of redemption for the three leads, make the film both entertaining and heartwarming.
All films are in Cantonese while some of them are recently digitised. Post-screening talks will be accompanied for designated screening sessions, hosted by Sunny Chan, Mak Kai-kwong, Thomas Shin, Dr Charles Cheung, Grace Ng, Eric Tsang Siu-wang, Shu Kei, Sam Ho and Joyce Yang.
Tickets for the opening programme “Silhouette Resonance x The Banquet (1991)” are priced at $100.
“Feast of a Rich Family”, “Black Rose” and “92 The Legendary la Rose Noire” will be screened at the HKCC, with tickets priced at $70 and a 20 per cent discount for LCSD Museum Pass holders purchasing regular-priced tickets for the films at URBTIX outlets. Other films will be screened at the HKFA, with tickets priced at $60. A 20 per cent discount is also available for every purchase of regular-priced tickets of two or more screenings of this programme.
Tickets will be available from March 7 (Friday) at URBTIX (www.urbtix.hk). For telephone bookings, please call 3166 1288. For programme details, please visit the HKFA website (www.filmarchive.gov.hk/en/web/hkfa/2025/comedy-s/pe-event-2025-comedy-s.html) or call 2739 2139.
This year, the LCSD presents the third Hong Kong Pop Culture Festival, themed “More Than Joy”. Humour has been a trend-setter of Hong Kong’s pop culture scene. The Festival features a diverse range of formats including stage performances, film screenings, thematic exhibitions, library and outreach activities. Offering an insight into the multifaceted development of Hong Kong’s pop culture along the line of “happiness”, the Festival brings audiences not only joy and laughter, but also an opportunity to appreciate how pop culture can be transmitted and transformed, and how integration and breakthroughs are possible. For more information, please visit www.pcf.gov.hk/en.