Band Four (4拍4家族, Mo Lai Yan Chi, 2023)

“Music is the best therapy, keep on playing music” is the advice of a doctor in Mo Lai Yan Chi’s poignant drama Band Four (4拍4家族) in which a disparate family is brought back together through their musical passions. Functioning as a kind of political allegory for a culture in danger of forgetting itself, the film rediscovers a sense of intergenerational solidarity in which that which seems lost can be reclaimed and passed down surviving in the minds of those who will remember.

The past intrudes in a more literal sense when the estranged father of Cat (Cantopop singer Kay Tse On-Kei), who has just lost her mother, suddenly returns and moves into her apartment after many years living over the border in Shenzhen. Former rockstar King (Teddy Robin) is clearly befuddled by the changes in contemporary Hong Kong, attempting to pay for a local snack in renminbi and getting Hong Kong Dollars back before being fined for littering by a very officious policewoman while he struggles to find a place for himself in Cat’s life given her understandable resentment of him for abandoning her only to return with another daughter in tow who has an incredibly similar Chinese name. 

Cat too is partly living in the past, fixed on getting to perform at an international festival with her band, Band Four, the name of which is inspired by her father’s old band, Band Seven, in order to honour the memories of two members who passed away suddenly just before they were due to travel abroad. Now in her 30s, Cat struggles to keep the band together only for her best friend to quit after deciding to get married and move to France while she’s otherwise forced to perform in fairly humiliating circumstances which only encourage her other two band members to an accept an offer to move to the Mainland. 

Many are indeed leaving, including King’s former bandmate and the owner of the live music venue where Cat plays who explains his wife wants to move abroad for a better future for their son though he finds it difficult to leave. Cat’s songs ask why it is she’s the only one who’s remained behind and committed to her dream, as if she were a kind of guardian of the old Hong Kong even as her own memory fails and she fears the time when she will forget everyone who was close to her. She worries about how to safeguard her memories in the same way she worries about raising her son, Riley (Rondi Chan), who is not academically inclined and struggles at school but appears to have a talent for the drums along with a kind and generous heart. 

Riley had explained that Cat started the band to find a family, which is what she eventually gets in learning to forgive her father whose interest in becoming a part of her life again is genuine while she also bonds with her half-sister Lok Yin (Anna hisbbuR) who also has musical aspirations and romantic disappointments that might otherwise leave her feelings lost and alone. “If you’re unhappy talk to your family” Lok Yin had advised Riley only to have the same advice given back to her and unexpectedly finding value in it. Occupying a maternal space, Cat strives to safeguard the future looking for others who could care for Riley as her own health fails while discovering that her family will take care of both him and her resolving that it won’t matter if Cat no longer remembers because they will remember for her. 

A musical love letter to Hong Kong, the film is both an advocation for moving forward but also for taking the past with you as you go, treasuring the memories of something that might no longer exist anywhere else. As Cat later says, anywhere you play is your stage and if you stumble over your lines someone else will be there to remind you where you are. Cheerful and heartwarming despite the sometimes heavy themes and a sense of inevitable erasure, Lai captures a sense of community warmth and mutual solidarity among those who choose to stay and remember rather than abandon their memories and start anew somewhere else.


Band Four is in UK cinemas from 15th December courtesy of Central City Media.

UK trailer (English subtitles)

Gallants (打擂台, Derek Kwok & Clement Cheng, 2010)

Gallants PosterLike the master at the centre of Derek Kwok and Clement Cheng’s Gallants (打擂台), old school martial arts movies have been in a deep sleep since their Shaw Brothers heyday. Drawing inspiration from the kung fu films of old, Gallants is a tale of buried heroism suddenly reawakening and the risks of writing off veteran challengers just because of their age. It’s also a tribute to those perhaps more innocent times and, in contrast to a prevailing trend, a true Hong Kong film filled with typically Cantonese (sometimes untranslatable humour) and meta references to the area’s long cinematic history.

For a brief moment in his childhood, Cheung (Wong You-nam) was the unbeatable superhero who never lost a fight. These days, he’s a nerdy loser who sometimes hides under his desk to escape his angry boss. Despatched by the shady real estate company he works for, Cheung is sent back to his rural hometown entrusted with the mission of convincing the local population to surrender their homes so the developers can build a large scale complex. Whilst there he gets attacked by local punks only to be saved by an old guy who has immense kung fu skills.

The old guy turns out to be one of two living in a ramshackle tea house that used to be a martial arts studio. Tiger (Leung Siu-lung) and Dragon (Chen Kuan-tai) turned the Gate of Law into a teahouse to make ends meet while their legendary sifu, Master Law (Teddy Robin), has been in a coma for the last 30 years. When a fight breaks out and the old guys get to strut their stuff against a local kingpin, Cheung decides to petition them to take him on as a pupil. In a classic case of bad timing, Cheung is around when the teahouse is raided again and someone attacks Master Law causing him to wake up and act as if the last 30 years never happened. He thinks Cheung is both of his young pupils, Tiger and Dragon, in one and that the real 30 years older versions of Tiger and Dragon are some random old guys Cheung has agreed to train out of pity.

If you don’t fight, you won’t lose quips Law, but if you fight you have to win. Like any good martial movie, Gallants is more about the journey than the destination. Rather than focussing solely on Cheung who experiences several conflicts of the heart when he realises that his adversary is the childhood friend he used to bully and that he was technically on the wrong side to begin with, Kwok and Cheng broaden the canvas to allow Tiger, Dragon, and Law to take centre stage. Still skilled martial artists, the guys give it their all in the knowledge that they’ll have to work far harder now that they aren’t as agile as they once were. Still, they have the true spirit of kung fu and resolve to keep getting back up each time they’re knocked down.

This oddly defeatist attitude which presupposes humiliation but insists on perseverance gives the film much of its warmhearted, ironic tone as the hapless martial arts heroes repeatedly fail yet refuse to back down. The other source of comedy lies in the hilarious performance of the tiny Teddy Robin as the supposedly all powerful Law. Law, as it turns out, is a wisecracking lecher who sets about flirting with just about every young girl he lays eyes on before decamping to a hostess bar and asking for the ladies from 30 years ago. Former starlet Susan Shaw makes an amusing cameo as the long suffering, lovelorn doctor apparently in love with Law since their youth who has continued to care for him throughout his illness but is entirely forgotten when Law wakes up in full on sleaze mode.

Bizarre gags including one about a missing preserved duck, jostle with impressive action sequences performed by two veterans proving they’ve still got what it takes all these years later. The aesthetic is pure ‘70s Shaw Brothers complete with speedy zooms and whip pans accompanied by an overly dramatic score, lovingly echoing the classic kung fu era rather than trying to attack it through parody. As funny as it all is, and it is, Gallants is also surprisingly warmhearted as it finds space to value the skills of its elderly protagonists as well as the enduring bonds of friendship which connect them.


Screened at Creative Visions: Hong Kong Cinema 1997 – 2017

Original trailer (English subtitles)