A family suffers at the hands of the Japanese during the occupation of Hong Kong.




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Credited cast:
Chingmy Yau ...
Law Mong-Dai (as Chingmy Yau Shuk Ching)
Veronica Yip ...
Law Sun-Dai (as Veronica Yip Yuk Hing)
Tsung-Hua Tuo ...
Sam Fong
Kar-Ying Law ...
Rest of cast listed alphabetically:
Kwok-Pong Chan ...
Siu-Ha Chan ...
Oi Dai / Rosie
Gwan Chin
Feng Ku ...
Julie Lee ...
Hoi's Wife
Dun Lo ...
Gary Wing-Lun Mak
Elvis Tsui
Bobby Yip ...
Queue Jumper
Man Yiu


A family suffers at the hands of the Japanese during the occupation of Hong Kong.

Plot Summary | Add Synopsis


Comedy | Drama | War





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Release Date:

29 December 1994 (Hong Kong)  »

Also Known As:

1941 Hong Kong on Fire  »

Company Credits

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Technical Specs


Sound Mix:

Aspect Ratio:

1.85 : 1
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User Reviews

Hong Kong's attempt at a war film
13 September 1999 | by (Toronto, Canada) – See all my reviews

There may well have been other feints in that direction, but I, for what that's worth, am not aware of any.

The Japanese Army invades Hong Kong in December 1941, and soon defeats the British/Canadian/Indian garrison supported by local Chinese elements. (The blasted, half-inundated remains of the British fortifications, the defensive "Gin-Drinkers Line", can still be visited today on their mountaintop overlooking the Shing Mun Reservoir.) Here there is very little attention paid to the actual battle; the focus is on the occupation and the brutalization of the Chinese inhabitants, and their eventual resistance to the Japanese.

This film has serious trouble with seriousness. There are scenes which are quite dramatic and are obviously intended to be -- I am thinking of one of the rape scenes, as seen by a concealed witness -- but at other times you get the feeling you're watching a conventional HK exploitation flick. Here I am thinking of another of the rape scenes where Japanese soldiers burst into a movie studio during production and just happen to discover the movie's heroine bound to a chair for her next scene. So this particular rape has a superfluous kinky bondage tinge to it.

The shifts in mood can be jarring. The director even chose to put a slapstick comedy scene in the middle of the film.

It's delightful to see the Japanese getting their faces rubbed in their wartime atrocities, something they have rarely had to suffer much over. But the Hong Kong film industry, the next time, should really approach this subject with the formality it warrants.

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