Film Name: 呆佬拜寿 / Only Fools Fall in Love / 呆佬拜壽
I can’t even count how many times I watched this movie as a kid, simply because it was on TV endlessly. Lau Ching-wan’s transformation from dumb to smart was super cool back then, and even now it still feels incredibly powerful. As a kid, I was deeply impressed by Stephen Ng’s portrayal of the main villain—that meek yet venomous demeanor, paired with the frail, sickly appearance of a heavy smoker, was one of my earliest exposures to twisted, psychotic antagonists (I also remember Lai Sam vividly from my childhood, though he was more pitiable). That such a formidable villain ultimately just turns stupid is surprising, but the stupidity itself is genuinely hilarious: “I’m Xiao Ming, I’m going to school.” This became one of my classic childhood memories. Later, whenever I saw villains turning stupid (like in “The King of Yesterday and Tomorrow”), I’d think of Zhao Ji (bringing disaster upon himself).
Revisiting it years later, I realized this film, despite relying on many tired tropes common in Hong Kong comedies, is actually a refreshingly unique gem. A major running gag in Hong Kong cinema at the time was having historical figures perform modern-day skits, like the traffic cop on a Mercedes horse in “All’s Well End’s Well, Too.” This film also incorporates modern gags like beauty pageants, IQ tests, and straw cups. The fashion show gag was even recycled in the later “All’s Well End’s Well, Too.” Yuen Wah repeatedly trying to kill or abandon Lau Ching-wan only to get beaten up himself was another common Hong Kong comedy trope seen in films like “East Meets West” and “Days in Shaolin.” The absurdity of the final IQ test sequence goes without saying.
What elevates this film above clichés, however, are its ingenious art direction and musical design. Take the chase sequences between Yuen Wah and Lau Ching-wan: the choreography and camera work blend dance rhythms and positioning with cartoonish exaggeration, creating both amusement and a unique aesthetic. Similarly, the film’s masterful adaptation of the traditional Chinese melody “The Thunderous Night” throughout its runtime lends a subtle, lingering melancholy—perfectly matching the tender, childlike affection between Ah Fook (when he’s feigning stupidity) and Chiu-Tee.
These elements, combined with Lau Ching-wan’s seamless transition between menacing and foolish performances, and Ng Kin-lin’s endlessly captivating blend of timeless elegance and sweet charm, Wong Tsz-wah’s sinister cunning beneath a meek exterior, and Yuen Wah’s cartoonishly exaggerated yet endearing expressions and physicality—all these elements allow audiences, even 25 years later, to discern a refined, tranquil beauty amidst the overused tropes. What makes classic Hong Kong films memorable is often what lies beyond the commercial genre conventions, yet many imitators only remember to copy those clichés.
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