If there is one rule that consistently defines Hong Kong cinema it is that if one movie is a success, then there shall be a constant stream of rip-offs until the next big smash. So if you've seen one Hong Kong Vampire movie then chances are you've seen quite a few. Just occasionally though we get a pleasant surprise and someone decided to do something a little different with the formula. “Vampire's Breakfast” is one such example. Whilst the title conjures up images of a Saturday morning cooking show for the undead, it is in fact a feature that deserves to be awoken from its coffin and rediscovered.
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There is a vampire loose in Hong Kong. Reporter Piao (Kent Cheng) unwittingly becomes involved as several bodies are discovered and the witness that he finds (Kwan Chiu-chung), proves to be unreliable. Both now forced to prove themselves, they go hunting for a creature that despite the mounting evidence, police refuse to accept the reality of. Inspector Chen (Parkman Wong) comes to the rescue of the inept duo but despite seeing the vampire escape, being shot and burned, chooses to arrest them. Released on the proviso that he keeps it under wraps, Piao continues his investigation but the closer he gets, the more danger he puts himself and potential girlfriend Angela (Emily Chu) in.
The vampire in this feature is not one that meets the traditional portrayal in Hong Kong cinema. Usually they don't walk but hop and are more zombie-like in appearance. The usual methods of defeating a Chinese vampire do not apply here too. There is no Lam Ching-ying style sifu with a background in the supernatural here either. Instead, the vampire is of western orientation. The methods of holy water and crosses add to a more gothic feel in parts, along with the abandoned church as part of the backdrop. The look of the vampire too has more of a “western” vibe, but not of the Bela Lugosi, Christopher Lee vintage. The blue appearance brings to mind the undead being from “Salem's Lot” mixed with the Demons from the Italian horror movies of the same name, giving us a hybrid of both eastern and western interpretations of the myth. The faster moving creature adds another element of danger as it is harder to contain. It creates for some set pieces that, by comparison, feel fresh in terms of the genre at the time.
There is another element that differentiates the title from the norm. In most modern productions set in Hong Kong, there is a ready acceptance of the supernatural despite the modern way of life with both sitting comfortably alongside the other. Here the opposite applies. The police refuse to accept that a vampire is loose in Hong Kong and even when the evidence is directly in front of them, choose to opt for rational explanations. Piao actually reinforces this skepticism by attempting to fake photos due to frustration with the polices' reluctance to believe him. Even at the conclusion, there is an effort to subvert the truth on the basis that no-one will accept it. What we have here is a complete inversion of expectation. For a western viewer this narrative is familiar so whether it feels fresh will depend on your previous viewing habits!
As with most examples of the genre, there is a line that straddles between horror and comedy. This is always a very tricky thing to do as can easy veer more one way than another. Yet it is rare to see a full on “straight” horror film during this era as most would follow the template established by “Encounters of the Spooky Kind” and elaborated on by “Mr Vampire”. Very often genres would be blended together, often changing from scene to scene. There is more consistency here and plays more as a horror movie with comic elements as opposed to an outright horror\comedy. As a result, we get some very effective sequences that do succeed in creating tension. The blood bank set piece builds nicely and in particular the scene in the church, sees a perfect transition of tone as the characters gradually become aware that their nemesis is also present. The finale has an almost evil dead moment that continues the well-judged balance from humour to horror and back again.
Kent Cheng gets to be the nominal hero which again is an unusual position as often would be in supporting roles. Equally adept at comedy and drama, he is perfectly cast as Piao. His is not quite the “heroic” figure as is prepared to lie, doctor photos and cheat in order to get his story out there, thereby doing bad things for good reasons. It makes it easier to see why people do not believe him readily. As a comic foil he has two contrasting supporting acts. Parkman Wong is the befuddled Inspector Chen, completely refusing to accept what is unfolding in front of him. He plays it straight which works well against the increasing absurdity and body count. Kwan Chiu-chung is the thief that gets roped reluctantly into the mix and gets into ever more dangerous scenarios as a consequence. His initial bravado fades into genuine fear as is constantly having to run from the vampire. Emily Chu as Angela gets little to do until the finale and is only then that really becomes tied into the story. Her relationship with Piao generally feels a plot contrivance and there is little chemistry between her and Kent Cheng. Though given how she fits into the whole arc, this is not really a surprise. Bringing up the rest of the case is Wu Ma's cynical editor and Simon Willson as the western vampire residing in Hong Kong.
Chung Wang directs with a steady hand. Whilst not the most visual of directors, he manages to keep a decent hand on the material and performances. The actors for the most part don't slip into mugging and the set pieces are well constructed with plenty of atmosphere.
This is a genuinely pleasant surprise. Going in a different direction to its counterparts, it creates an identity of its own. Whilst not a full on scare fest, it does have effective moments and is definitely worth a view.
