One of the Hong Kong movie stars of whom many kwailo have heard is Stephen Chow (周星馳), star of such films as 龍在天涯 (lung tzoi tien-ya), 義膽群英 (yi daan kwan ying), 龍鳳茶樓 (lung fung chaa lou), and most especially, 賭聖 (dou seng), in which he was unforgettable as Sing, the simple country boy with a profound gift for cheating at cards.
This last movie propelled him to stardom - he has delighted fans of 無厘頭 (mo lei tau) ever since on both sides of the Pacific.
Truly a genius.
You doubt?
Please scope out the video below.
STEPHEN CHOW PRAISES
INTERVIEWER'S MANTAI!
當外國人嘲笑中國人不懂英文之後星爺發火了
Dang ngoikwok yan chausiu chungkwok yan m-tong yingman ji-hau Sing yeh faatfoh-le ("regarding outside country persons sneering at central country persons not understanding hero literature afterwards star lord catches fire").
[Takes time to load - be patient.]
And he does right to catch fire. I would have too.
Sometimes, ngoi kwok yan dei can be real hufters.
Especially when they presume that hero literature is far better than broad prefecture speech. On occasion it isn't. At times it sorely lacks .
MO LEI TAU 無厘頭
Unfounded, without a clear cause. Neither head nor tail. Both a philosophy of life, and a code of conduct.
It is by the juxtapositioning of seemingly random themes and data that a wider comprehension can be achieved.
In the works of Chow Sing-Chi, a predominant concept is the distinction between figure and imagined element.
If neotextual objectivism dominates the subcultural paradigm, narrative is intrinsically dead. Hence a totality of mythopoetical stasis is constructed, then analyzed in terms of language that serves to illuminate the dialectic paradox.
Themes significantly absent from his films are angst, anomie, and introspection.
There is naught existential, it is all consciously deconstructivist.
If you do not understand any of that, good. That is precisely the point.
Mo lei tau. Post-modern humour.
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