For the uninitiated, Stephen Chow comedies on the surface can be a tad confusing with a constant stream of cultural references and wordplay that is lost on non Cantonese speakers. His style of “make no sense” (mo lei tau) comedy does require an understanding of some of what he parodies. With “Shaolin Soccer” and “Kung Fu Hustle” aiming more at the international market, “Forbidden City Cop” is a great entry point to his more locally aimed work.
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Ling Ling Fat (Stephen Chow) is an imperial guard with no actual fighting skill. Instead, he invents gadgets for himself and his wife Kar-ling (Carina Lau). After getting ostracized by the emperor, he tries to protect him from being assassinated by No Face (Yuen Shun-yi). After redeeming himsel,f he must bring the beautiful Cho (Carmen Lee) back to the palace for the emperor's attentions. But things, as always, do not go according to plan.
Stephen Chow's usual persona is an egotistical individual that must be redeemed by the conclusion. Here he gets a much more likable one to work with in Ling Ling Fat. Whilst the other agents are all martial arts experts, he is an inventor with no physical attributes. These skills pay off as the film progresses though in increasingly absurd ways as the inventions get practical applications. While this is a period spoof of Bond films, he is more a Q than a James Bond. Carina Lau gets an atypical role as the ditzy wife Kar-ling. She brings an immense likability to her part and shares a genuine chemistry with Stephen Chow that is rather endearing. It makes some of the second act scenes more emotional due to the genuineness established.
Yuen Shun-yi as No Face gets to set up the traditional conventions. His desire to learn the highest form of martial arts leaves him with just a featureless outline, much to his family's distaste. Yuen Cheung-yan gets to reprise his “Miracle Fighters” look as No Face's wife, a nice nod to the classic era of Kung Fu. Throughout the film, there are numerous appearances from Chow's almost repertory company. Vincent Kok, Wong Fat-fei, Lee Kin-yan (the guy who always appears dressed as a woman with his finger up his nose!) etc. The noticeable exception is the usual sidekick in Ng Man-tat, but the structure of the story doesn't really require him.
Carmen Lee's Kam Cho gets a striking introduction in the second half. With Ling Ling Fat dressed as a woman, she is glimpsed with a thin moustache and all black outfit. Whilst she lacks Carina Lau's comic timing and chemistry with Stephen Chow, she is clearly enjoying the opportunity to be the femme fatale of the piece.
As ever, there are cultural references and pop culture gags interspersed in the narrative. The “Flying Fairy” looks remarkably like the Roswell alien in the alleged autopsy video. The opening credits are a pastiche of the various Bond movies and Ling Ling Fat translates as 007 in a more explicit nod. One character acts like a ghost from the various tales, moving sideways and speaking in a female voice although clearly male as the “Basic Instinct” gag demonstrates! Martial arts stereotypes are sent up even from the beginning with Stephen Chow and Vincent Kok's screenplay poking fun at them with every opportunity.
This is a film to be treated as a full on pantomine. Cross dressing abounds and the fourth wall is broken on regular occasions inviting the audience to laugh with the proceedings rather than at it. If it has a weakness, it's that the narrative feels almost like a two part portmanteau. Although they do tie together at the climax, for the most part it's as if two stories have been stitched together making it feel a bit episodic.
The co-directors create a wonderfully madcap world and give it a more polished look than usual. There was clearly more time spent on the production and it is evident throughout, with much tighter editing. It contains less of the random violence that, from western perspective, seems out of place and is definitely less cynical in its attitude. It's a complete contrast to the more mean spirited “From Beijing With Love” that captures the Bond aesthetic but lacks even a tiny amount of the charm on display here. It keeps a consistent tone without veering off into different directions as can frequently be found. Even the usual bad taste humour is less on display here, demonstrating a tighter reign on the output.
This is one of the best Stephen Chow comedies. Genuinely funny and allowing the supporting acts to be in on the jokes and join in the fun. As always, it goes into absurdity and the idea of “Make no sense” is definitely true at times. A likeable central relationship gives it charm and the references are not too obscure for newer watchers to be put off. Certainly a good starting point for anyone wanting to explore more of his work.
