Film Name: 裤甲天下 / King of Stanley Market / 褲甲天下
Back in 1988, I was still in elementary school. Every family was equally poor yet happy. Each day was filled with nothing but school and wild play, with no worries to speak of. Years later, I saw Drunken Master II. In it, Changjiang No. 2 ran a bustling jeans boutique frequented by all sorts of people, including many foreign tourists. The highest price quoted for a pair was 250 Hong Kong dollars (the Mandarin dialogue said “dollar,” clearly a translation error), though most sold for 99-150. Back then, that seemed incredibly expensive. My dad earned over a thousand yuan a month, which was a high salary, while my mom, a civil servant, only made four or five hundred. Years later, while watching Hong Kong films, I started researching prices and suddenly realized that during the film’s production, Hong Kong university graduates started at HK$8,000. My heart sank. After forty years of development, starting salaries for Xi’an university graduates barely exceed 2,000 yuan, with most under 3,500 yuan. It’s truly embarrassing. “Drunken Master II,” directed by Lu Jianming who also played a supporting role, grossed over 7.4 million yuan, ranking 57th in annual box office. In that golden era of outstanding films, it was already a remarkable achievement.
The story follows Changjiang No. 2, an eldest brother who acts like a father, raising his half-siblings to establish their own families while delaying his own life, ultimately becoming a lifelong bachelor. His stepmother, Sandra Ng, also finds her true love, Hu Feng, and happily remarries, leaving the old bachelor utterly alone. Unable to bear the loneliness, Chang Jiang No. 2 begins searching for a partner among his customers. Characters like Sandra Ng and Kim Yee-ling appear, but alas, his advances go unrequited. Whether it’s white-collar workers, public relations professionals, or backup options, none are meant for him. When he finally connected with rival Zhang Aijia across the street, her estranged husband Qin Xianglin stormed in. No wonder Zhang wavered between the two men—despite her husband’s deceitful ways, he was undeniably handsome. After all, he was Qin Xianglin. Thankfully, it’s a family-friendly film (though Sandra Ng’s nightclub colleagues did offer some audience perks during her scenes). After twists and turns, it culminates in a heartwarming reunion. The lively finale on the retail street, with four stay-at-home dads working alongside their children, truly stabs middle-aged men in the heart—life is tough.
“Drunken Master II” is a quintessential period comedy. While the story seems centered around the Changjiang No. 2, it’s actually pieced together from numerous small sketches. Watching it feels warm and funny, but the narrative lacks fluidity. The opening laughs come courtesy of Anita Mui and Hu Feng. Hu Feng’s line—”I heard your dad died. I was overjoyed!”—is downright punchable. But then, his plea—”Please let us be together. Let us have a few happy years”—takes the moral high ground. Back then, Hong Kong stars were booked solid. The siblings and other family members who appear early on vanish after their brief scenes. The segments with the white-collar beauty and Sandra Ng form a romantic sketch. Edward Yang’s cameo as a prison guard sets up the later appearance of the fugitive played by Luk Kin-ming, while Qin Xianglin’s ex-husband serves merely to create a minor obstacle in pursuing the woman. These scattered vignettes are stitched together to reach the 98-minute runtime, allowing the director to call it a day.
Audiences never demand much from comedies—just something to make them chuckle. As long as writers and directors immerse themselves in real life and show a modicum of sincerity, people will pay for tickets. Great comedic material springs from everyday existence; it’s not just about idol stars acting silly or cute. During Hong Kong cinema’s golden age, most comedy bits weren’t sophisticated—they drew from the mundane lives of ordinary folks, focusing on domestic squabbles and neighborhood gossip. Yet audiences still laughed heartily. Nowadays, many comedies fail to land laughs, yet directors and writers blame audiences for lacking sophistication or appreciation. Films are commodities, and customers are king—more service-oriented spirit is needed. It took me twenty years to figure out the jeans brand featured in the film.
PS: Decades-old comedies still feel hilarious today, especially when the second-rate comedian stays within their comfort zone and delivers consistently.
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