Sometimes it happens that the limitations and restrictions provoke creativity, as it happens in poetry: so fixed and stiff in its metrical phonetic schemes so disruptive and universal in its expressive way. The same rule of poetry has influenced the Hong Kong producers to test new things or to elaborate old things. Its’ the case of ““All’s well End’s well 2009”, that is the most classic of all the holyday’s movie Far East productions, distributed in the Chinese and New Zealand theatres at the end of January, on the New Year’s Feast, that meant the moment of maximum presence at the theatres in a whole year. If it’s true that the spy stories are not allowed, as the action movies, a great paradox as exactly in those places it was born and reached the maximum expression (see Bruce Lee and Jackie Chan), it becomes almost unavoidable to propose innocent though nice, funny, well-done sentimental comedies.
Fourth production, 12 years after the previous “All’s well End’s well 1997”, the story is about a traditional family really concerned about traditions , such as to marry the daughters in a chronological order. This introduces a series of situations and characters a little bit stereotyped though true. It comes out a portrait of a modern Hong Kong, more “western” than others Countries of the West itself, though besieged by the Chinese Government and culture, of which it is an integral part. Thus, luxurious european cabriolets go around with girls wearing their traditional kimonos and young hippies spend their time playing to Happy Online. A comedy that goes through a heavy though unavoidable use of product placement, for objects and products that describe such a strange and controversial society much more than the one when Hong Kong was “made in Hong Kong”. Now that Hong Kong is “made in China”, the light stories, the design objects and the products of quality are really a breath of oxygen and maybe hope too.
