Film Name: 喷火女郎 / She Starts the Fire / 噴火女郎
Among the many “Crystal Girls,” Chiu Shu-ching stands out as one of the most renowned. During those years, Wong Jing crafted numerous films specifically for her, naturally emphasizing her sensual appeal.
In Hong Kong cinema, actresses known for their sensuality are often overlooked for their acting skills, but this doesn’t mean they lack talent. Take Chiu Shu-ching as an example: between 1988 and 1999, over an 11-year span, she received three nominations for Best Actress at the Hong Kong Film Awards and one nomination for Best Supporting Actress.
1992 proved an extraordinary year for Chiu Szu-chen, as she released eight films that year. The overall quality was impressive, with five of them ranking within the top 50 at the annual box office—a truly remarkable achievement.
Released chronologically as her sixth film that year, “She Starts the Fire” was directed by the then-famed Cheng Danrui, with screenplay by Wong Jing and Chan Ka-shing. Starring Cheng Danrui, Chow Shu-ching, Deanie Ip, and Cheng Yu-ling in the lead roles. The supporting cast was equally impressive, featuring familiar faces from Hong Kong cinema like Yuen King-tan, Cheng Kwai-on, Chu Kong, Lai Siu-tin, Lau Chung-yan, Lai Pik-tak, Cheng Tung, and Lee Siu-kei. The production company behind it was Wong Jing’s Crystal Arts.
Positioned as a comedy, the film indulges in all manner of comedic excess. While borrowing from the then-popular psychic powers trend, Wong Jing builds upon these elements with creative twists. Thus, Qiu Shuzhen’s character Yun Yun is portrayed as a psychic with fire-breathing powers. The film also pays homage to the popular South Seas sorcery tropes of years past, explaining Yun Yun’s abilities as the result of a curse from those mystical regions. One can’t help but admire Wong Jing’s skill in blending and inventing.
Films of that era often assembled star-studded casts to amplify their appeal, and the actors in this film worked together exceptionally well. While their performances were exaggerated, they perfectly embodied the quintessential spirit of Hong Kong cinema.
Earlier we mentioned sensuality. In this film, screenwriter Wong Jing opens with a Hong Kong-style Marilyn Monroe close-up of Chiu Shu-ching. The aesthetically pleasing cinematography also made Chiu Shu-ching the most convincing Marilyn Monroe impersonator in Hong Kong at the time.
Notably, the final scene where Chiu Shu-ching’s character Yun Yun angrily spoofs the scoundrels played by Lee Siu-kei, Lai Siu-tin, and Lai Pik-tak is genuinely hilarious, serving as the film’s comedic climax.
Perhaps due to the glut of such comedies and fierce competition during that era, the film grossed only HK$4.61 million at the box office, making it the worst performer among the eight films.
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