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美少年之戀 (1998)
Bishonen


Reviewed by: Libretio
Date: 10/11/2005
Summary: Romantic homage to male beauty

BISHONEN (1998)

Aspect ratio: 1.85:1
Sound format: Dolby Digital

Inspired by a scandal in the Happy Valley area of Hong Kong, in which a wealthy playboy was found to have taken thousands of photographs of police officers posed in various states of undress, BISHONEN is nothing less than a romantic homage to male beauty: Stephen Fung plays a handsome prostitute whose vanity is breached after he falls in love with an equally attractive young cop (Daniel Wu) who is closeted from his old-fashioned parents (Kenneth Tsang and Chiao Chiao) and wary of forming new relationships due to events in his recent past, events which finally catch up with him in the worst possible way.

Directed by photographer-turned-filmmaker Yonfan (BUGIS STREET, PEONY PAVILION), this unusual film was actually promoted as a spectacle for female viewers, though the narrative is defiantly Queer in tone and construction, and unfolds with all the melodramatic excess of a 'Harlequin' romance. While Yonfan's script and direction may seem hopelessly naive to some Western viewers, his painterly eye uncovers the beauty in HK's urban sprawl, as well as the physical attributes of the actors themselves, and some of the images of languid young men (many of them featured in the movie's advertising materials) are genuinely intoxicating. Terence Yin (HOT WAR) plays an aspiring pop singer who leads Wu astray from an old boyfriend (Jason Tsang) during a long flashback sequence explaining Wu's melancholy demeanor, prompting a number of oblique references to actor-singer Leslie Cheung, whose suicide in 2003 ended the long career of one of HK's most beloved gay icons. In fact, Yonfan uses the milieu of HK's sexual 'underworld' to comment on the former colony's clandestine gay scene, and the ways in which it has been downplayed (or hideously stereotyped) by an overtly conservative media. Gay fans of HK cinema have always relished the voluptuous splendor of Asian film stars (Bruce Lee, Alexander Fu Sheng, Andy Lau, Nicholas Tse, countless others) and the homoerotic undercurrents which fuel hundreds of tough guy action movies and sensitive dramas; BISHONEN drags the implication out of its closet and exposes it to the clear light of day.

Many scenes are unscripted and/or shot guerilla-style on the streets of HK, and while some of these vignettes are rendered inconsequential by unskilled actors, the script's emphasis on the redeeming power of love is both heartfelt and charming. However, the closing scenes - in which a leading character makes a tragic error of judgment - will strike some viewers as regressive and unnecessary, though the situation is entirely believable in the context of Eastern sensibilities. Shu Qi (SKYLINE CRUISERS, THE EYE 2) plays the only significant female role in the movie, a lesbian who acts as a go-between for Fung and Wu, and the movie is narrated by Brigitte Lin (famous for the sexually fluid roles she has played in countless movies); HK film critic Paul Fonoroff also appears, in a brief cameo role. Along with Wong Kar-wai's HAPPY TOGETHER (1997), this was one of the first HK films to depict gay sex in an explicit manner, though some of the supporting players are clearly uncomfortable during moments of supposed intimacy. However, Wu has no such inhibitions: He's stripped to his underwear on numerous occasions (revealing a beautiful, gym-toned body) and shares a couple of detailed sexual encounters - a memorable shower scene with Yin, followed by a climactic make-out with Fung - which represent milestones in HK Queer Cinema.

In a country where careers are often made and unmade overnight, Fung and Wu have since become major players on the HK movie scene. Both were educated in America (Wu had only a rudimentary grasp of Cantonese when cast in BISHONEN, his first movie), and while both were selected by Yonfan primarily for their looks, they give strong performances in complex, difficult roles (Fung's character remains sympathetic despite his narcissism, while Wu is a haunted, tragic figure). Fung - the son of former Shaw Brothers actress Sek Yin - is quite simply *gorgeous beyond belief*, and his subsequent films (including blockbusters GEN-X COPS, THE AVENGING FIST and MY SCHOOLMATE, THE BARBARIAN) have assured him a place in the pantheon of HK teen idols, though his cool, insouciant beauty was never captured with more grace or allure than here. He turned director in 2001, co-helming the multi-episode HEROES IN LOVE before going solo on the well-received comedy-drama ENTER THE PHOENIX (2004), in which he cast Wu as the gay son of a dying Triad who resists his father's criminal legacy. Of the two, however, Wu is the more accomplished actor, another teen sensation whose career has encompassed everything from commercial juggernauts (PURPLE STORM, NEW POLICE STORY) to intimate 'Art-house' entries (BEIJING ROCKS, NIGHT CORRIDOR), and he's gained a reputation for playing sexual outsiders in unconventional films, earning him a sizeable gay following throughout SE Asia.

NB. The HK-English title BISHONEN is actually a Japanese word, which translates as - what else? - 'beautiful boys'.

Reviewer Score: 8

Reviewed by: lemoncola
Date: 05/24/2002
Summary: Simple on the Outside, Complex on the Inside

Bishonen (Mei Siu Nin Ji Lun), the Chinese title sounds like it would be a movie about young teenage love, and the cover photo for the movie looks like 2 boys in love with the same girl, but it is not.

This movie stars Daniel Wu, Stephen Fung, Shu Qi.

Daniel Wu portrays the character Sam who is a police officer living a double life. Sam is seen walking around the street with a pretty young girl (Shu Qi), the way they walk around and smile so happily, they look like two young people in love. Sam is a filial son who loves and respects his parents and is still living with them. All this makes Sam look good on the outside. But on the inside, he is really attracted to men. Sam does not deny the fact that he is gay -- he does not deny it to himself, but he denies it to the rest of the world because he feels guilt and shame. He feels people will not accept him and he feels he will disappoint his parents.

Stephen Fung plays the role of Jet, a hustler who sleeps with men for money. He feels empty and does not know what love is. He is always hoping that one day he will meet someone who accepts him and loves him.

One day Jet sees Sam walking with Kana (Shu Qi) and he really wants to talk with Sam, but does not have the nerve. One of Jet's friends who is also a hustler, puts an ad for Jet saying how much he wants to meet the guy he saw at the art gallery (Sam).

On night, Sam is on police duty patrolling the streets and sees Jet and asks Jet to meet him.

This is the beginning of the love story between Sam and Jet.


In order for audience members to appreciate this film, they must have an open mind. It is very rare to see a Hong Kong about gay men, therefore this might make some people feel uncomfortable and some scenes may be hard to watch.

When I bought this movie, I did not know that it was about gay men relationships. I thought it was going to be about a love triangle between Daniel Wu, Stephen Fung and Shu Qi. When I was watching it, I was surprised because Hong Kong movie industry hardly have movies that are about same sex relationships.

My thought was, since I bought it and I cannot return it, so I just watched it. And then I discovered what a beautiful love story it is about Sam and Jet finding someone they love and deeply care about.

The characters are quite complex, especially the character of Sam. Sam struggles with his identity, both sexually and socially. He keeps his homosexuality a secret from his parents and from the outside world, since he has no way of expressing it, in turn he begins to feel suffocated by it.

Jet never knew what love was until he met Sam. When they began dating and developing a relationship, it is then that Jet can feel free to express himself openly (this is true also for Sam). But when Sam's father found out about him being homosexual, Sam was so afraid, felt so guilty and ashamed. He did not know how to explain it to his father, he did not know what to say. This is when he felt trapped and suffocated. This is so sad and painful.


This movie is about finding the love of one's life, it's about how one would identify themselves, both sexually and socially. It's about finding the truth in oneself.

If you are thinking about watching this movie, you must have an open mind.

Daniel Wu and Stephen Fung really gave excellent performances. They really developed their characters. It wasn't just about 2 gay men, it was about 2 complex men trying to find what everyone wants to find: love.

Some scenes were hard to watch, like Stephen and Daniel having a hot passionate kissing scene. Terence Yin and Daniel having a hot moment in the shower.
Some of these scenes were hard to watch because I have never seen Daniel and Stephen kiss each other. And in Hong Kong movies you rarely see the same sex kiss. But nowadays there are talks about a few movies having same sex relationships, not just males, females as well. Also in the movie Marry a Rich Man, Candy Lo's character Mui Tau's (MT) sexuality is not clear, it seems like she is bi-sexual. Also in the movie Killing Me Tenderly, all the men characters who work for Cinderella are gay. Also in Peony Pavilion, it is implied that the 2 leading female roles are involved in a same sex relationship. But in these movies, you don't see any of the actors kissing passionately like in Bishonen.

I think the topics of homosexuality and bisexuality is starting to make it's way into Hong Kong movies. It's just that Bishonen's whole story really focuses on the topic of gay men relationships and their personal struggles and frustrations with themselves and the world.


Reviewed by: sarah
Date: 04/07/2002
Summary: Five Shaolin Rentboys

Why did Bishonen remind me of Five Shaolin Masters? Well, for a start Jason Tsang looks alot like a young David Chiang. And Stephen Fung in his first lead role is as impressive and stellar in his way as Alexander Fu Sheng.
Daniel Wu could pass for Ti Lung, tall and slim with huge eyes, but really the star he reminds me of most is Rudolf Valentino. So many beautiful boys wrestling about without shirts, wonderful cinematography and the best of intentions. Its bound to remind you of Chang Cheh. But I don't think Yonfan is in his league as far as certain other aspects of cinematic craft are concerned. The plot really wasn't very plausible, failing to set up the Daniel Wu denoument and it is hard to see any motivation for what he does. And that female voice over was very incongruous. I did like the rather novel 'John Cam', and I thought the rentboy scene was very authentically presented, with amazing performances from all concerned.
Whatever its faults as a film, it has had a profound effect on Stephen Fungs legions of teenage fans. I've read many posts about how watching this film has overturned their prejudices. Good on the boy for taking risks and using his success to enlighten others.


Reviewed by: shelly
Date: 01/06/2000
Summary: A voyeuristic slide along the surface of HK's gay subculture

A voyeuristic slide along the surface of Hong Kong's gay subculture. Beauty is about prostitutes, cops posing for gay photographers, gay pop stars... Presumably, there's more to HK's gay community than this, but that's not the concern of photographer Yonfan's new film. He is a very facile director, and easily offers lots of technical polish, glossy surfaces, pretty-boy shots of his stars. But that seems to be all the film is aiming for. Or at least that's all it reaches: it's hard to escape from the impression that we, as viewers, are made to stand on the outside, looking in, at a world that -- whether or not it has the sympathy of the filmmakers -- remains an object of curiosity, or pity, or sympathy. There's been a mini-explosion of gay-themed Hong Kong films of late: Happy Together (1997), Portland Street Blues (1998), Hold You Tight (1998), The Intimates (1997), or even Love and Sex Among the Ruins (1996) and Boy's? (1996) have more original and interesting things to say than Beauty. Yonfan described the film as having been made for women (presumably heterosexual) who wanted to watch beautiful young men: an odd goal, but perhaps he's succeeded at that. Redeeming features: well, Daniel Wu, in his first feature, as the strikingly Andy Lau-like police officer (the film goes so far as to restage a memorable Lau-as-cop shot from Wong Kar-wai's Days of Being Wild: hmm, Lau as gay idol?) is at the centre of the film, and manages to create a convincingly well-rounded character. And Hsu Chi turns in yet another memorable supporting performance.

Reviewer Score: 8