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How Deep is Your Love
Year: 1994
Director: Andy Chin Wing-Keung
Cast: Max Mok Siu-Chung, Charlie Young Choi-Nei, Wu Chien-Lien, Keung Yung, Joe Junior, Peta Marie Rixon, Yuen King-Tan
The Skinny: Relatively successful gay-themed drama from the usually awful Andy Chin. The resulting film is decent, but also somewhat uncompelling.
Review
by Kozo:
     Andy Chin directs this sync-shot story of a young woman named Ken (Charlie Young) who visits an apartment complex (Mirador Mansions, the bastard stepchild of Chungking Mansions) after her brother David's death. Exciting, huh? Upon arriving, she discovers that David was gay and that he was involved with interior designer Joe (Max Mok). Joe is depressed due to David's departure, but Ken pushes him to get past his funk and on with his life. Then, there's lots of talking, pop songs and a sleepy cameo from Wu Chien-Lien. And a romance between Ken and Joe.
     How Deep is Your Love is probably one of the more successful gay-themed Hong Kong films of the nineties as it depicts homosexuals as people with hopes, dreams, fears and the whole regular nine yards. In contrast to the offensive lip service of He and She or the bizarre excess of Oh! My Three Guys, this low-key flick is relatively honest and without pretension. It also features yet another gay lead (Mok) who finds happiness in a heterosexual relationship. Since the other party is Charlie Young, one might be likely to forgive his conversion. Still, some might wonder if it wasn't a simple marketing decision (young filmgoers like cute heterosexual couples), or worse, the wishful thinking of some of the more conservative crew members.
     To the film's credit, Mok's choice of Young as his current love is not portrayed in the world-beating, end-all way that He and She did. However, the pleasant, low-tension tone of the flick occasionally lends itself to an almost lackadaisical feel. As a Hong Kong film, How Deep is Your Love doesn't rise to the heights - or sink to the depths - of its more celebrated cinematic cousins. It's a well-meaning film, but not a cure for boredom. (Kozo 1996)

 

   
 
 
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