MY PRINCE EDWARD
Cheng Cheng Films
Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten
Director: Norris Wong
Writer: Norris Wong
Cast: Stephy Tang, Pak Hon Chu, Hee Ching Paw
Screened at: Critics’ link, NYC, 8/26/20
Opens: September 2, 2020

Right up until the mid-1960s, all my single friends and I lived with our parents, even though we had already pushed into our early twenties. On second thought not all. One of my pals moved out of Brooklyn into a small apartment in the Yorkville neighborhood of Manhattan. The rest of us thought: what’s wrong with Steve? Doesn’t he get along with his folks? Predictably, our parents did not want to lose us so quickly, insisting “You can move out of here when you get married. You don’t want to go off alone.” What’s wrong with going off while single? Who knows? Happily, times have changed.

This brings us to Norris Wong’s “My Prince Edward” which takes place in the Prince Edward area of Hong Kong’s North Kowloon where most of the action takes place. The principal character, Fong (Stephy Tang), has a rebellious spirit. She no longer wants to “live at home” as we say when we don’t mean “home” but mean “with our parents.” Yet for reasons surrounding Hong Kong’s culture, she thought she would have to get married to do so. So she sets up a sham marriage with Yang Shuwei (Jin Kaiijie) from Fuzou on the Chinese mainland, which “allows” her to move away to the mainland and gain more freedom. In return Yang is able to fulfill his desire get a permit for Hong Kong by marriage to her. Years later she’s back in Hong Kong, this time living with Edward (Pak Hon Chu), and continues to live with him without marriage for years, bristling at Edward’s mother, who dominates her son, and confused because the chemistry with Edward just is not there. The two work in a bridal shop with Edward serving as photographer.

Edward discovers years later that his girlfriend had this fake marriage, is furious, then realizes that she and her fake husband never lived together as man and wife but in fact are trying to jump bureaucratic hoops to get divorced. If we see Edward as representative of the Hong Kong culture, the city does not come off well. Mainland China turns out, contrary to the view most of the world has, to be more culturally progressive than Hong Kong, as Yang, though he is about to marry a woman he got pregnant, wonders why Fong is so intent on marrying. “No one rushes to get married any more,” Yang says, obviously, apparently summing up the view of the people of his mainland city. Presumably, given the steady rioting of Hong Kongers against the incursions of the mainland, politics is a different story.

Norris Wong, who wrote and directs an impressive first film and whose Facebook page can be found here https://www.facebook.com/norrisfilm/, evokes performances all around by characters who are more than representatives of marital ideologies but are sympathetic people: one who is fully independent (Yang), one who is still a schlemiel (Edward), and one (Fong) is in the middle on the cusp of greater maturity, independence and happiness. Perhaps the best representative of a trait is the tortoise that Fong buys because the poor reptile has flipped over on its side, its vulnerability treated with empathy by its purchaser who wishes it to be turned back and regain independence.

The film is in Cantonese and Mandarin with subtitles in both Mandarin and English.

92 minutes. © 2020 by Harvey Karten, Member, New York Film Critics Online

Story – B
Acting – B+
Technical – B
Overall – B