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Rebels of the Neon God (1992)
"Qing shao nian nuo zha" (original title)

7.6
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Ratings: 7.6/10 from 1,350 users  
Reviews: 8 user | 14 critic

Defying by his parents, Hsiao Kang drops out of the local crammer to head for the bright lights of downtown Taipei. He falls in with Ah Tze, a pretty hood and their relationships is a ... See full summary »

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Title: Rebels of the Neon God (1992)

Rebels of the Neon God (1992) on IMDb 7.6/10

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3 wins & 1 nomination. See more awards »

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Cast

Credited cast:
Chao-jung Chen ...
Ah Tze
Chang-bin Jen ...
Ah Bing
Kang-sheng Lee ...
Yi-Ching Lu ...
Mother (as Hsiao-Ling Lu)
Tien Miao ...
Father
Yu-Wen Wang ...
Ah Kuei
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Storyline

Defying by his parents, Hsiao Kang drops out of the local crammer to head for the bright lights of downtown Taipei. He falls in with Ah Tze, a pretty hood and their relationships is a confused mixture of hero-worship and rivalry that soon leads to trouble. Written by L.H. Wong <as9401k56@ntuvax.ntu.ac.sg>

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Drama

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Release Date:

4 August 1994 (Netherlands)  »

Also Known As:

Qing shao nian nuo zha  »

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1.85 : 1
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Did You Know?

Quotes

Ah Kuei: Ah Tze, let's leave this place!
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Connections

Featured in Naamsaang-neuiseung (1998) See more »

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User Reviews

 
Rebel with a cause
9 April 2007 | by (London) – See all my reviews

On a more obvious level of multiple layers, a crucial, cultural point of significance seems lost in translation. As Rebels of the neon god comprise the sense of urban alienation, tradition and cultural adaptation, secularization, the decaying city and loss of identity, the original title translates literally Teenage Nezha. And as implied by his frustrated mother, the main character of Hsiao Kang bares resembling "qualities" to that of the rebel god, born into a human family and in constant opposition. While most reincarnations of Nezha grow additional limbs for the purpose of eradicating their father, Hsiao's idle hands become the playground for the prankster god. Sparked by an act of force, the two main plots of the film intertwine, and are further fueled by the returning violence. After their encounter in the arcade, Hsiao can be seen playing the same shoot-em-up as the one Ah Tze played while sitting next to him, symbolizing a change in character and the unraveling of the revenge. The directors returning use of water as ever-present, controlling element of nature, suppressing spaces of confined and human, primal behavior sets up a hierarchy of command in the metropolitan chaos of Taipei.


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