In the Hong Kong entertainment industry, the name Wong Cho-lam is one that cannot be ignored. The characters “Yu Lok Tin,” “Mo Zuo Dong,” and “Mai Tai Seong” are familiar names to Hong Kong locals in the film industry, all portrayed by Wong Cho-lam. Since the 1990s, Wong Cho-lam has been a pioneer in the popular stand-up comedy scene in Hong Kong, blending humor and social observation across various fields such as drama, film, and radio, becoming a shared memory for several generations of Hong Kong people.
Wong Cho-lam was born in Hong Kong in 1960 and received local education from childhood, studying from kindergarten to secondary school in Hong Kong. He later went to the University of Alberta in Canada to study business administration but switched to philosophy due to his growing interest. In 1984, at the age of 24, he returned to Hong Kong with a dream of becoming an actor but faced many years of struggles, only able to work as a temporary actor at Asia Television Limited (ATV). In an interview, he mentioned his first job was lying on the ground as a temporary actor at ATV. Despite participating in auditions, he was never selected. Desperate to become an actor, while working as a scriptwriter for the RTHK educational program “Nature Is Good,” he volunteered to play the main role in one episode and finally experienced being a male lead. After changing several radio jobs, he still couldn’t fulfill his dream and eventually decided to become a DJ at Commercial Radio Hong Kong.
His life took a significant turn in 1990 when he independently organized the first stand-up comedy show “History of the Entertainment Circle,” which was a huge success. What started as a one-time attempt at stand-up comedy turned into the core of his career for the next few decades.
“Stand-up comedy” in English, also known as “脱口秀” or “solo comedy,” is a new form of performance art from the West introduced to Hong Kong in the 1990s. When it was first brought to Hong Kong, there was no direct translation available, and Wong Cho-lam creatively coined the term “棟篤笑.” He was also the first actor to perform “stand-up comedy” shows lasting over two hours and personally brought the second stand-up comedian, Cheung Tat-ming, into the spotlight. Over more than a decade of development, stand-up comedy gradually became widely recognized and accepted by Hong Kong audiences.
Wong Cho-lam’s stand-up comedy covers a wide range of topics from the entertainment industry’s behind-the-scenes to political and societal issues. In his 1992 show “Going Anywhere,” he explored immigration trends, while in 1997’s “Accounting Before Autumn,” he directly addressed the anxieties leading up to Hong Kong’s return. Even in his 2014 show “Not Glued, Not Normal,” he touched on sensitive topics like the Umbrella Movement. Using humor as a medium, he analyzes social phenomena and serves as an emotional outlet for the people of Hong Kong.
Looking back at Wong Cho-lam’s stand-up comedy journey, it began with satirizing the entertainment industry and gradually shifted towards addressing social issues, particularly criticizing political and economic concerns post-Hong Kong’s return. This evolution reflects the relaxed freedom of speech in the society at that time. Even when touching upon topics like the “June Fourth Incident,” he could express it humorously and receive enthusiastic responses from the audience.
The integration of stand-up comedy with local Hong Kong culture has made Wong Cho-lam a collective memory for several generations. Some say he is not just funny but humorous. What differentiates humor from mere comedy? “Comedy” provides temporary entertainment, like laughing at a play or a conversation, quickly forgotten, while “humor” contains depth and reflection.
His style goes beyond mere comedy, delving into depth and introspection. His jokes do not just aim to entertain but reinterpret unnoticed aspects of life, helping audiences resonate and triggering deeper thoughts even after the laughter. This unique sense of humor has made him a significant symbol of Hong Kong culture.
There is a saying, “A dragon swimming in shallow waters is prey to shrimps, a tiger falling in Pingyang is bullied by a dog.” Does this saying apply to Wong Cho-lam? Despite gaining fame with “stand-up comedy” in the 1990s and achieving great acclaim with the TV series “Men Vs. Women” in 2000, his acting career was not always smooth sailing.
He starred in several poorly performing films, such as “Life Is Fading Joy” in 1993 with box office earnings of only 50,000, “Shadanic Fish Murder Case” in 1994 with earnings of 980,000, and his self-written, directed, and acted film “One Dollar Chicken Bodyguard” in 2002 with earnings of only 170,000, leading to him being dubbed as “box office poison.”
However, many of Wong Cho-lam’s films contain elements that satirize social issues, not just for light-hearted entertainment but for thought-provoking purposes. For example, in “Shadanic Fish Murder Case,” the male lead loses all sense of security around him, symbolizing the political unrest among the Hong Kong people in 1994, apprehensive about the future. This was because it was five years after the 1989 Tiananmen Square protests and three years before the 1997 handover.
In one scene, Liao Qi-Zhi asks Wong Cho-lam, “Scared of riots? Scared of Daya Bay?”. In 1994, the Daya Bay Nuclear Power Plant began operations. In the 1980s, nearly a million Hong Kong citizens signed petitions against it, but the Chinese government ignored their concerns.
Regarding “One Dollar Chicken Bodyguard,” most scenes were shot in Tuen Mun, including Tai Hing Estate, Yau Oi Estate, Tin King Estate, indirectly portraying a range of social issues. The film was shot in 2001, four years after the Hong Kong handover. Influenced by the Asian Financial Crisis and then-Chief Executive Tung Chee-hwa’s “85,000” policy, the Hong Kong property market plummeted, the economy declined, and numerous middle-class individuals became negative asset owners. Wong Cho-lam continuously mentioned the number “85,000” in the film, satirizing Tung Chee-hwa and reflecting the prevailing social conditions at that time.
The 2022 film “Showdown at the Dinner Table” grossed over 77 million, becoming the No.1 comedy in Hong Kong cinema history. The film’s tagline, “Where your family is, there is home,” resonated with many, touching upon Hong Kong’s immigration trends.
In 2023, “The Acid Tongue Attorney” delved into wrongful conviction plots, coincidentally reflecting the multitude of political cases going to trial in real life, grossing 145 million and becoming the No.1 Hong Kong-produced film in history. The line “Today! Here! Everything is wrong!” spawned from the movie resonated with Hong Kong viewers. After the sentencing of the pro-democracy camp in November 2024, many netizens shared related lines, expressing their anger.
The 2024 hit “Broken Hell” centered around the funeral industry, tackling themes of death and the immigration trend, striking a chord with audiences amidst the pandemic and changing societal environment.
Online discussions questioning Wong Cho-lam’s acting in “Broken Hell” arose. Why do even non-fans say, “Movies with Wong Cho-lam are worth watching”? The answer lies in his roles carrying a distinct “Wong Cho-lam flavor.” He doesn’t need to portray someone else but simply embodies himself. Whether as the elder brother in “Showdown at the Dinner Table” or the lawyer in “The Acid Tongue Attorney,” his performances always convey the real Wong Cho-lam to the audience.
Why has Wong Cho-lam stood unwavering in the realms of film and stand-up comedy? Perhaps the answer lies in his pursuit not merely of humor but in conveying observations and criticisms of society through his works. His creations are deeply intertwined with the lives of Hong Kong people, imbued with local colors, becoming a part of the urban culture.
Watching Wong Cho-lam’s films often feels like following a story of a friend or an ordinary Hong Kong resident seen on the streets. His dialogues are often relatable. Recently, many netizens reshared an episode of the 1997 program “Cantonese Talk,” titled “Self-Proclaimed Sage,” which explored the phenomenon of Wong Cho-lam’s stand-up comedy.
Revisiting it 27 years later, it remains relevant. In the program, he expressed his enjoyment of observing various lifestyles in Mong Kok and Sham Shui Po. He likes to witness life’s diversity in cha chaan teng (Hong Kong-style cafes), emphasizing realistic dialogues. During discussions on current topics at such eateries, in the wake of events like the Tiananmen Square protests of 1989 and the handover in 1997, Hong Kongers faced rapid societal transformations, leading to emotional numbness as a form of self-preservation. Faced with immense pressure and uncertainties, people in Hong Kong chose to suppress their emotions to shield themselves from further harm. In an interview on a radio show, he shared, “Generally, humans tend to protect themselves, leading to a numbing effect on various aspects, including conscience and justice…”
When asked if his 1997 political content show “Accounting Before Autumn” was too daring, he earnestly replied, “My starting point wasn’t to consider how daring it is but if it’s interesting. I do have a standpoint, but that’s not the most essential aspect; it’s if they feel I’m narrating their lives. In a myriad of ways, ten thousand people live differently, so how can you claim who’s right or wrong? But if you can capture their lives accurately, that’s sufficient.”
Wong Cho-lam’s presence serves as a form of cultural psychotherapy. Through unique humor and satire, he dissects the various mindsets and behaviors of Hong Kong people facing societal changes, exploring how to find meaning and value in an imperfect world. Many watch his movies or stand-up comedy not just for entertainment but as an emotional outlet.
His success further validates a cultural phenomenon. By establishing a profound connection with Hong Kong people through humor, Wong Cho-lam has meticulously documented the city’s nuances through stand-up comedy and movies. He employs humor to heal the city’s wounds, hence why he is referred to as a “philosopher.” What kind of imagery does Wong Cho-lam evoke in people’s minds?
From a fishing village to a metropolis, Hong Kong harbors outstanding talents. Some say Hong Kong is a paradise for adventurers and a haven for wisdom and diligence. The civility, courage, and backbone of Hong Kong people displayed during critical moments showcase immense tolerance and love. “Hong Kong people” embody a spirit that continues to shine brightly no matter where in the world they are. Numerous individuals intertwined with Hong Kong have added color to its culture and spirit. Tune in to the new show “Drifting Legends,” delving into the lives of various significant figures, big or small, sharing their legendary life stories.
Watch the full content of “Drifting Legends” online.
– Production Team of “Drifting Legends”