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Richard James Havis

The Chinese literary classic Journey to the West, written by Ming dynasty author Wu Cheng’en, may be known for its battle scenes and action, but it is religious in nature.
One of the ideas behind the novel, which tells of a journey to the “Eastern Heaven” of India to find some Buddhist sutras, is to show that Buddhism, Confucianism and Taoism can work together as a religious system.
Portions of the book have been adapted for television, film, comic books and even video games many times, including last year’s hugely popular game Black Myth: Wukong, with the wildly flamboyant and violent Monkey King usually being the focus of the story.
Most filmmakers pay lip service to the book’s philosophy while concentrating on the action.

Below, we look at some of the most high-profile Hong Kong film adaptations in the past three decades.
1. A Chinese Odyssey Part One: Pandora’s Box and A Chinese Odyssey Part Two: Cinderella (both 1995)
Comedy superstar Stephen Chow Sing-chi’s first stab at the Monkey King story, which is split into two films, is an oddity as much as an odyssey.
Directed by Jeff Lau Chun-wai, the story refits elements of Journey to the West around Chow’s unique comic persona, creating a wild mess of humour, costumes, old-school special effects and superior martial arts.


The result is chaotic, story wise, and by part two, it becomes almost impossible to follow. “To attempt to describe the plot would give it a coherency that the film lacks,” Paul Fonoroff wrote in the Post.
But the movie brims with freakish imagination, the acting is fun to watch, and the set pieces are superbly orchestrated. Chow toned down his comedic performance, which mainly exists in the wordplay here, and the result is esoteric.
“The audience response at the Lunar New Year screenings fell far short of the usual raucous laughter afforded a farce starring Hong Kong’s King of Comedy,” said the Post.
The confusing plot has Chow playing a gang leader who is really the Monkey King – he just does not know it yet.

Two demons, played glamorously by Karen Mok Man-wai and Yammie Lam Kit-ying, turn up to kill the mythical beast, but Chow’s character says it is not him. The story totally weirds out in part two, when time travel becomes involved.
Some exemplary martial arts choreographed by Tony Ching Siu-tung, who was behind classics like Swordsman II, elevate the film. That is especially true in part two, where Ching recreates highlights from films like the crazy The East is Red.
Chow directed a mainland Chinese version of Journey to the West, called Conquering the Demons, in 2013. That was followed by a sequel, The Demons Strike Back, written and produced by Chow and directed by Tsui Hark, in 2017.
2. The Monkey King (2014)


The first film in Soi Cheang Pou-soi’s Monkey King trilogy, sometimes subtitled Havoc in Heaven, is a mad special effects extravaganza which leaves little time for storytelling.
The director takes some characters from Journey to the West – such as Princess Iron Fan, one of the best-known – adds some of his own, and constructs a cartoonlike story that races along at breakneck pace. There is some philosophising, but the main focus is on 3D spectacle.
Cheang focuses on the genesis of the Monkey King, Sun Wukong, and how his feisty character was formed.
Monkey (Donnie Yen Ji-dan) is arrogant and violent by nature and, to achieve spiritual enlightenment, he is ordered to go and experience the world, in the Buddhist tradition, to discover how to be humble and good.

In this retelling, that involves siding with a demon (Aaron Kwok Fu-shing) against the Emperor of Heaven (Chow Yun-fat). As a punishment, and to ensure his spiritual transformation, he is confined under the Five Finger Mountain for 500 years to contemplate his mistakes.
Yen, in some effective monkey make-up which took four hours to apply, plays Monkey as irritable and irritating. The martial artist puts his skills to good use, performing northern martial arts style acrobatics, and wielding Monkey’s weapon of choice, the staff beloved of the Shaolin monks.
Yen produced the film, and was also the martial arts choreographer.
“In the past, there were many filmmakers – Chinese as well as Western – who wanted to make The Monkey King,” Yen told the Post’s Yvonne Teh. “But I think those were thoughts without real action behind them, because this film requires a lot of imagination and knowledge of historical literature,” he said.

The special effects are passable but very rough around the edges, and the film falls short of its professed aim to be an Asian Avatar.
3. The Monkey King 2 (2016)
Part two of Cheang’s trilogy, which arrived two years after the first, is superior to the original on every count. It has more thoughtful acting, well-executed martial arts – choreographed by Sammo Hung Kam-bo – a deeper script, and some quality special effects.
The Monkey King 2 sticks closer to the book’s story than part one, focusing on the monk Tang Sanzang’s efforts to reach Eastern Heaven to find the sutras, aided by Monkey, the part-human, part-pig Zhu Bajie, and the sandman Sha Wujing.


The film benefits from the inclusion of the book’s Buddhist philosophy, which is nicely integrated into the effects-laden sequences, even if it is cartoonish. Much of this revolves around giving up worldly thoughts to reflect and find enlightenment, and controlling emotions.
Aaron Kwok, who played the demonic villain in part one, transitions to the role of Monkey for this sequel, taking over from Donnie Yen.
Kwok plays Monkey differently – the creature possesses fewer annoying tics, and he is more self-assured and committed to the cause of protecting the monk as he makes his way to find the sutras.
Gong Li, resplendent in white as the White Bone Spirit who wants to eat the monk to avoid having to go through reincarnation, is the star of the show. Gong brings gravitas to the role, and her presence seems to have encouraged her fellow performers to up their game.

The story of the White Bone Spirit’s story is taken directly from the novel.
4. The Monkey King 3 (2018)
Part three of Cheang’s trilogy once again featured excellent special effects, including a fight between two giant scorpions, along with great locations and nicely wrought performances.
But this time, the storyline is thin.
Based on another section of the novel, the travellers wander into a land ruled by women where they are taken prisoner. The queen of the land falls in love with the monk, and the plot revolves around the adventures they all have trying to escape.


The focus this time is on the monk, and Monkey is sidelined in his own film.
“The Monkey King 3 stands or falls on its musings about love in all its forms – and they are largely unsatisfying,” wrote the Post’s film editor Edmund Lee.
In this regular feature series on the best of Hong Kong cinema, we examine the legacy of classic films, re-evaluate the careers of its greatest stars, and revisit some of the lesser-known aspects of the beloved industry.
Want more articles like this? Follow SCMP Film on Facebook


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Asian cinema: Hong Kong film

Donnie Yen as Monkey King in a still from The Monkey King (2014).

Aaron Kwok in The Monkey King 3 (2018), one of several notable adaptations of the Chinese classic Journey to the West by Hong Kong filmmakers.

A screenshot from the Chinese video game Black Myth: Wukong. Photo: Game Science

Stephen Chow (left) as Monkey King in a still from A Chinese Odyssey Part Two: Cinderella (1995).

Chow Yun-Fat as the Jade Emperor in a still from The Monkey King.

Aaron Kwok (left) and William Feng play the Monkey King and his master in The Monkey King 2.

8 classic Hong Kong movies that changed the course of filmmaking in the city

Ricky Hui Koon-ying (left) and Michael Hui Koon-man in a still from The Private Eyes.

Bruce Lee in a still from Fist of Fury (1972), one of eight films we examine that changed Hong Kong filmmaking. Photo: Hong Kong Film Archive

Patrick Tse Yin (centre) in a still from Story of a Discharged Prisoner.

Lisa Lu Yan in a still from The Arch, a bona fide art-house film in the European style.

Callan Leung in a still from Jumping Ash, which changed the Hong Kong police film genre forever.

Lee Yue-tin (left) and Shi Lei in a still from Father and Son.

‘You can’t turn him into Chow Yun-fat in one go.’ Stephen Chow’s Fight Back to School hero

Stephen Chow Sing-chi in a still from Fight Back to School (1991). The comedy star had a “heroic” image makeover for this film and its sequel, and all three films were a showcase for his comedic genius. Photo: Win’s Movie Production & I/E Co. Ltd

Stephen Chow (left) and Ng Man-tat in a still from Fight Back to School.

Chow (left) and Sharla Cheung Man in a still from Fight Back to School.

Athena Chu and Chow in a still from Fight Back to School II (1992).

Chow (left) and Anita Mui Yim-fong in a still from Fight Back to School III (1993).

The Ip Man movies without Donnie Yen, from The Grandmaster to 2 directed by Herman Yau

Tony Leung Chiu-wai in a still from The Grandmaster. Photo: Jet Tone Films


Anthony Wong as Ip Man in a still from Ip Man: The Final Fight (2013), one of four films we examine that tell the martial artist’s story. Photo: Lark Films Distribution

Zhang Ziyi and Tony Leung Chiu-wai in a still from The Grandmaster (2013).

Dennis To (left) and Louis Fan in a still from The Legend Is Born – Ip Man (2010).

Max Zhang and Michelle Yeoh in a still from Master Z: The Ip Man Legacy (2018). Photo: Truemovie

Eric Tsang (left) and Anthony Wong in a still from Ip Man: The Final Fight (2013).

How the Erotic Ghost Story films shocked and seduced Hong Kong

(From left) Amy Yip, Man Siu and Kudo Hitomi in a still from Erotic Ghost Story.

Pal Sinn (left) and Amy Yip in a still from Erotic Ghost Story (1990). Yip made the first Erotic Ghost Story a success, mainly because of her buxom physique.

Joey Wong and Leslie Cheung in a still from A Chinese Ghost Story (1987). Photo: Film Workshop

A promotional image for Erotic Ghost Story (1990).

Charine Chan (bottom right) in a promotional image for Erotic Ghost Story 2 (1991).

A promotional image for Erotic Ghost Story 3 (1992).

(From left) Pauline Chan, Kenny Wong and Chik King-man in a still from Erotic Ghost Story 3 (1992).

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We recall Journey to the West film adaptations, from Stephen Chow’s turn in the title role to one in which Donnie Yen plays the Monkey King


We recall Journey to the West film adaptations, from Stephen Chow’s turn in the title role to one in which Donnie Yen plays the Monkey King.
