Summary of Key Points
This article uses Stephen Chow's new film "Kung Fu Football" as a starting point to discuss the changes in Chinese comedy over the past twenty years. It analyzes how Chow's personal comedic style has evolved from being "absurd" to incorporating a more somber tone, and it outlines the evolution of the Chinese comedy genre (from Feng Xiaogang's comedies to Happy Mahua, to the current blend of variety shows and films). The article also explores changes in audience taste for comedy (audiences are now more discerning due to exposure to short videos and debates about whether comedy should be purely humorous or meaningful), as well as why Chow still holds a revered place in the world of comedy (thanks to his widespread influence, internet memes, and the emotional connection he has with audiences).
I. Stephen Chow's Comedies: From Pure Humor to Humor with Tension
Chow's comedies can be divided into two phases:
- Early phase (when he was an actor, not a director): He relied on exaggerated body language and illogical dialogue to create laughter, as seen in films like "A Chinese Odyssey" and "The Ninth Rank芝麻 Official." The Mandarin version of these movies, with the voice of actor Shi Banyu (known for his signature "hahaha"), helped him gain a large following. At that time, he was supported by the Hong Kong comedy industry; directors like Liu Zhenwei and Wang Jing worked with him, and the scripts and jokes were closely tied to the social culture of Hong Kong.
- Later phase (when he directed and acted himself or only directed): His comedies began to include more emotional elements. For example, "The King of Comedy" tells the story of a supporting character named Yin Tianchou, which is humorous on the surface but explores the hardships of small-scale individuals. In "Shaolin Football," the focus is not just on football but also on the struggle for dignity among underprivileged people. Although "Kung Fu Football" still features some of Chow's exaggerated body language (such as Zhang Xiaofei imitating his movements), the message has changed—while before it was about the idea that hard work leads to success, now it suggests that relaxation can also lead to victory, and it includes controversial plots (like the "pear blossom team using seduction techniques"), which some viewers find out of place with current societal contexts.
II. Why Is Stephen Chow Still the "Comedy God?"
Even though "Kung Fu Football" received mixed reviews, audiences are still willing to defend him for three reasons:
1. Widespread distribution: In the absence of a well-established marketing system, his films spread through theaters, piracy, CCTV, and online forums. Later, they became popular among younger audiences through internet memes (like "xianyu" and "xiaoqiang"), emoji packs (from the movie "Back from the Dead"), and short videos.
2. Emotional connection: His films have accompanied a generation of viewers throughout their growth, creating a sense of nostalgia that makes them tolerate even subpar new works.
3. Symbolic influence: Chow's unique comedic style has inspired many later creators; for example, some of Happy Mahua's jokes and Shen Teng's acting styles are influenced by him.
III. The Evolution of Chinese Comedy After Stephen Chow
After Chow, Chinese comedy has gone through three major changes:
- Feng Xiaogang's comedies (early 2000s): Feng Xiaogang pioneered the New Year's film genre with films like "Party A vs Party B" and "The Big Shot," introducing a style of humor that reflected Beijing dialect and social commentary. However, his success declined after the box office failure of "Personalized Order."
- Happy Mahua (2010s): This team, which started in theaters, refined their scripts through numerous performances. Their film "Charlotte's Worries" achieved a huge box office with 1.4 billion yuan, making them a new trendsetter. However, they later suffered from negative publicity due to misleading marketing practices.
- Current era: Blend of variety shows and films: Comedians like Xu Zhisheng and He Guangzhi are now appearing in films (e.g., "The Annual Meeting Cannot Stop!"), but many of these performances are scripted rather than creatively crafted, unlike the earlier works of Feng Xiaogang and Ning Hao.
IV. Audiences' Increasingly Sophisticated Taste for Humor
Audiences' preferences for comedy have changed:
- Increased variety of platforms: Short videos and variety shows (such as "The Talk Show Conference" and "Happy People's Wonderful Night") have become primary sources of humor, with audiences expecting constant laughter and no dull moments. This has raised expectations for films.
- Shift in focus from directors to actors: While before, audiences cared about who directed the film (e.g., Stephen Chow or Feng Xiaogang), now they are more interested in who is performing. For example, Shen Teng's presence alone can make an audience laugh, and his comedic persona has become more important than the actual plot.
- Debate over humor vs meaning: Some believe comedy should simply be funny, while others hope it addresses real issues (e.g., "The Annual Meeting Cannot Stop!" satirizes corporate culture). Good comedy combines both—using exaggerated elements to convey a message that makes viewers laugh and think.
V. The Ultimate Dilemma of Comedy: Entertaining or Educating?
This debate has been ongoing for thousands of years. Plato believed art should educate, not just entertain. Some criticize certain comedies for being too vulgar, while others argue that simplicity is enough. However, the article suggests that comedy should offend the right audience (e.g., "The Annual Meeting Cannot Stop!" targets corporate structures, not ordinary workers). The key is to create humor that resonates with the audience, and then subtly incorporate meaningful content.
In conclusion, the article argues that comedy will never disappear because people need laughter. Creators should find their own unique styles, and audiences can find the types of comedy they enjoy. This is what constitutes an ideal comedy market.