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By turns comic and melodramatic, Golden Chicken nevertheless serves as a kind of motivational video for the city itself, implicitly and explicitly exhorting its protagonist and audience to dig deep and find a way forward and upward. Such a message turned out to be of great importance to a city that was about to face the SARS crisis, which drives the sequel. An equally well-made and engaging film, its more serious tone and implications rendered it heavier fare than the original. Golden Chicken 2 didn’t do as well at the box office, but is still very worth watching. Perhaps because SARS was seen as something beyond people’s choices, the second film makes more of a moral statement about the disease than the protagonist’s job.
Dante Lam’s Naked Ambition is a comedy about prostitution, though the two protagonists are male (and not gigolos). Louis Koo and Eason Chan lose their “normal” jobs, and in a fit of inspiration decide to localize a Japanese phenomenon: the sex guide. The two friends soon find themselves movers and shakers in Hong Kong’s sex industry, capable of making or breaking an establishment, or a career, with a few strokes of the keyboard. Along the way we are treated to another series of amusing cameos, especially those of Jo Koo and Josie Ho as prostitutes who realize the personal and professional burdens of fame and choose different solutions to them. Naked Ambition , like Golden Chicken , takes an honest and non-judgmental comic look at prostitution, never falling into moralizing about anything more than friendship. This frequent refusal to take a moral stance is one of Hong Kong cinema’s strongest assets. While the city’s films often gleefully engage in melodrama of epic proportion, the kind of moralizing one might also expect is thankfully absent, although sometimes this moral ambiguity may leave a viewer feeling disoriented.
Miss Du Shi Niang is an adaptation of a stage play that simply takes for granted its female protagonist’s profession. Considering she is played by the radiant Michele Reis, it is easy to forget that the film is a story about a young scholar who falls in love with a prostitute. Daniel Wu quickly spends his tuition on his new love, who struggles to decide between the risks of love and the security of money. Perhaps operating on the play’s original temporal context, the circumstances of their meeting take a distant back seat to their relationship; it is simply accepted that from such liaisons, love may blossom. This tacit acceptance is not, however, limited to the past.
One of the things that makes Patrick Leung’s 1997 film Task Force such a quirky, endearing film is that the love story is between a police officer (Leo Ku) and a prostitute (Charlie Yeung). What is so odd is that none of Leo Ku’s colleagues criticize him for dating a prostitute. They offer him the same kind of advice that applies to a typical romance. Their tacit acceptance of the relationship is made all the more meaningful by their repeated, sincere expressions of hope and support for their colleague and his partner, her career seemingly unimportant. That, in a nutshell, sums up Hong Kong’s attitudes about prostitution and Hong Kong’s prostitute movies. You will find many unexpected things, and most of the time it is up to you to decide what to think and feel about them.
British Sexploitation and Expat Culture in Hong Kong.
HONG KONG (The East-West Writer)—British banker Rurik Jutting went on trial this week for the 2014 murder of two Indonesian women he tortured in his upscale Hong Kong apartment. In this connection, let us talk a little bit about Hong Kong’s expat culture and the rampant sexploitation of Asian women .
Hong Kong is basically a whore house for white Western expats. That’s largely so because it was so long a British colony, but also because Western imperialists had always cultivated a fetish for their Asian plaything.
“On any given night, scores of foreign men and young, made-up Asian women fill the pubs on Lockhart Road, while outside on the sidewalk, hostesses in cocktail dresses swarm passing Western men, hoping to entice them into booming nightclubs.” —The Daily Mail.
Journalists in the past were largely complicit in concealing what today is known as White trash culture . It amounts to Western males flocking into Hong Kong under the impression of white privilege and supremacy, politically, culturally, and sexually.
British BBC , The Telegraph, and The Guardian continue to sell the former British colony Hong Kong as the “Expat’s dream” and “best place to live” in the world. Yet what most British expats really think about is the constant availability of submissive Asian women.
They not only learn about submissive Asian women in their Western textbooks, but also from film and literature. Don’t believe it? Here’s a small selection:
World of Suzie Wong Miss Saigon Shanghai Baby The Barbarian and the Geisha Already tomorrow in Hong Kong Full Metal Jacket Madam Butterfly.
Although the majority of British immigrants in China are dropouts, escapists, and thus English teachers, and drink “cheap alcohol”, the media still mystifies the stereotypical British bloke as rich, hard-working, and hard-playing.

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