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Châu Tinh Trì poured all his thoughts into filmmaking, once stating, 'The stories of the struggles of ordinary people are often the most touching.'
1. An Actor Unversed in Martial Arts
After his parents' divorce, Châu Tinh Trì lived with his mother, sister, and younger brother in cramped quarters in a slum in the Cửu Long district of Hong Kong, China.
From a young age, Châu Tinh Trì had a penchant for quietly observing his surroundings. Everyday scenes like parents teaching their children and neighbors helping one another... scenes that Châu Tinh Trì witnessed became material for his future films.
At the age of 9, Châu Tinh Trì became enamored with martial arts legend Bruce Lee. He dreamt of becoming a martial arts master like him. To achieve this, he diligently practiced his martial arts skills. He trained by forcefully thrusting his right hand into a pot of green beans daily. The child practicing the Ng Mui Boxing in 'Kung Fu' drew inspiration from his own image during this time of martial arts training.
After graduating, Châu Tinh Trì invited his friend Lương Triều Vỹ to interview for an acting training class together. While Lương Triều Vỹ was accepted, unfortunately, Châu Tinh Trì failed the audition. Châu Tinh Trì's artistic journey faced numerous obstacles from the start. It wasn't until 1982 that Châu Tinh Trì was finally accepted into an artist training class at TVB.
Châu Tinh Trì's streak of bad luck wasn't over yet. When he played the role of 'Second Brother Tong' in 'The Duke of Mount Deer', he discussed with the director about the scene where Mai Tiểu Phong kills 'Second Brother Tong'. He wanted his character to 'struggle for a moment' before dying, adding dramatic tension to the film. Unexpectedly, this suggestion from Châu Tinh Trì was not only rejected but he himself was also despised by the director. This period was later depicted in his film 'The King of Comedy'.
Châu Tinh Trì openly talked about the difficult period in his career: 'Looking in the mirror every day made me feel even more insecure... I didn't know what lay ahead, and I didn't know what the outcome would be if I continued. At that time, I especially didn't believe in myself.'
If there was anything that propelled Châu Tinh Trì forward, it was the constant stimulation of insecurity. It was precisely because the feeling of inferiority was always present that Châu Tinh Trì found the motivation to break free from poverty.
And in the 1988 film 'The God of Gamblers', Châu Tinh Trì finally gained recognition as an actor.
2. Small Characters, Big Films
The main characters in Châu Tinh Trì's films are always crafted in the simplest, most intimate style, closest to ordinary life. Not wealthy or exceptionally talented, Châu Tinh Trì's main character image has many flaws, enduring bitterness in society.
However, despite life's adversities, that humble character of Châu Tinh Trì still boldly rises, overcoming hardships. Watching Châu Tinh Trì's films is not just for laughter, but also inspires you not to succumb to life's difficulties, striving to become a better version of yourself.
After films like 'Uproarious School', 'The Mad Monk', 'King of Beggars' achieved great success, Châu Tinh Trì's films began to become a phenomenon, embraced by the public. The peak of Châu Tinh Trì's success was in the 1995 film 'Journey to the West'. The film turned Châu Tinh Trì into a monument in Hong Kong cinema.
3. Comedy with a touch of pathos
Châu Tinh Trì once said: 'Sometimes when I see injustice in society, I didn't have the courage to stand up and demand justice. In those times, I only knew to remember to find a way to express those stories in films, hoping that our society will become better in the future.'
We can derive many lines from Châu Tinh Trì expressing his sentiments about society.
In the film 'The Little Mermaid', there's a quote: 'No matter how much money you earn, without clean water or clean air on this earth, you'll just end up in a dead end.'
Similarly, in the movie 'National Product 007', a line goes: 'Even a pair of underpants and a piece of ordinary toilet paper have their own uses.'
Over time, Châu Tinh Trì's films have become more diverse. However, as his status as a master of comedy solidifies, negative news about Châu Tinh Trì is also increasingly widespread. Many articles have criticized him as a 'director who thinks he's the best', 'authoritarian on set', and 'exploitative of labor'.
Châu Tinh Trì's insistence on his works has alienated him from those around him. He easily loses his temper, frequently demands script changes, and is always demanding with actors' performances. While Châu Tinh Trì's audience enjoys the products of his insistence, his colleagues cannot bear his lack of empathy during the filmmaking process.
Châu Tinh Trì has become a wealthy director, but he's also gradually becoming isolated in his industry. Does it mean that the greater the ability, the greater the responsibility, the more lonely a person becomes?
(Sohu)
