Cinema Strada: A Personal Journey Through Hong Kong’s Cinematic History
As I sat down to watch Cinema Strada, a documentary film that explores the life and work of Hong Kong’s renowned film critic and historian Law Kar, I was struck by the sheer wealth of archival footage and stills that bring the city’s post-war history to life. The film, presented by Law Kar himself, is a deeply personal and sentimental memoir that is meticulously supplemented with an astonishing amount of archival material.
Hong Kong’s vibrant cityscape
Born Lau Yiu-kuen in Macau in 1940, Law pursued a long and winding road to become a titan of Hong Kong’s cultural scene, culminating in the presentation to him of a Professional Achievement Award at the 2023 Hong Kong Film Awards. Through his eyes, we see the evolution of cinema in Hong Kong, mainly between the 1950s and 80s, and the city’s volatile political climate.
Law Kar, a titan of Hong Kong’s cultural scene
The film opens with a politically minded section that looks back at Law’s early career as the chief editor of an influential Chinese-language publication and his brushes with social activism in the late 60s and early 70s. His musings on the role of art in a Hong Kong torn between radical leftist unrest and oppressive colonial rule include a minute-long discussion of Michelangelo Antonioni’s 1966 film Blow-Up, a testament to Law’s cinematic passion and the documentary’s readiness to embrace the cineaste’s tendency to see reality through art.
Michelangelo Antonioni’s 1966 film Blow-Up
We’re not just privy to his enthusiasm for Hollywood imports such as Bathing Beauty (1944), Halls of Montezuma (1951), and Niagara (1953) during his postwar childhood in Macau, but his early impressions of Hong Kong in the late 50s are also handily compared to William Holden’s perspective in The World of Suzie Wong (1960).
The World of Suzie Wong (1960)
Indeed, scenes from classic Hong Kong films such as In the Face of Demolition (1953) and Our Sister Hedy (1957) are spliced into the proceedings to serve as visual analogies to his everyday life as an adolescent getting used to his adoptive city.
In the Face of Demolition (1953)
Law talks us through his intellectual and political awakenings – the pen name Law Kar was taken from the Chinese translated names of philosopher Bertrand Russell and logician Rudolph Carnap – while intermittently offering some random anecdotes, such as his experiences of nearly becoming an assistant director to Chang Cheh or an actor for Federico Fellini.
Chang Cheh
A still from an early experimental short film made by Law Kar, seen in Cinema Strada, is a testament to his creative endeavors.
A still from an early experimental short film made by Law Kar
While the film may strike some viewers as being mildly egocentric, it more than fulfills its brief as an impeccably illustrated look at old Hong Kong and its cinema through the eyes of one particular, culturally curious man.
Hong Kong cinema
In conclusion, Cinema Strada is a fascinating documentary that offers a unique glimpse into Hong Kong’s cinematic history and the life of Law Kar, a titan of Hong Kong’s cultural scene. While it may lack great insights, it is a meticulously crafted film that is sure to delight cinephiles and anyone interested in Hong Kong’s rich cultural heritage.
