Art, it is sometimes said, holds a mirror up to society, and that seems to be the case with My Name is Fame. A film about filmmaking, I suspect it inspired introspection within the Hong Kong entertainment industry, which had long praised and relied on the superior talents of Lau Ching-Wan without rewarding him accordingly. In this movie, he plays a skilled but frequently overlooked actor who coaches a newcomer to stardom while trying to not so much revive a critically successful career as to kickstart one. Lau’s efforts earned him his first ever Hong Kong Film Awards gong.
It’s an honor long overdue, so the irony of this role gives fans like me some sweet satisfaction. His character, Poon Kar-Fai, delivers an acting master class to his protégé, and the audience, and Lau showcases the texture he always brings to his characters. There is something flinty behind his thick, hangdog face, and despite Fai’s emotional exhaustion and stereotypical dip into the bottle, one can sense his simmering passion. Never an actor to back down from the integrity of his craft, Fai knows a deal more about storytelling and performance than some of the people running the show. His unwillingness to compromise as well as his expectation that others commit fully to each job doesn’t earn him many friends.
Since his perpetual state of underemployment leaves him with a lot of time, Fai volunteers to chaperone a fresh actress, Faye (Huo Siyan), contracted under his ex’s (Candy Yu) agency. What starts as a one-off act of kindness, however, gradually develops into something deeper. If this was a Woody Allen film, the middle-aged master would school his much younger, wide-eyed pupil not only in the art of acting but romance as well, with emphasis on the latter. But it’s not, and most of the focus stays on their professional relationship. Faye not only learns to be a better performer but also how to navigate the industry, while the ill-tempered Fai, seeing her approach to the profession that has mostly yielded disappointment, re-evaluates his commitment to it.
Huo is expressive in wonderfully slight ways as her character blossoms into a leading actress. The part requires a certain nuance where Faye is shown filming successive takes of a single scene, and Huo delivers each shot with precision. And while the two leads seem oddly matched in physicality and temperament, they blend effortlessly, both the actors and characters giving and taking until they’ve reached some sort of intellectual and emotional equilibrium (see, this isn’t Woody Allen).
These two very accomplished performances (Huo also received a Best Newcomer nomination) are marred, however, by a problem that plagues recent Hong Kong productions – dubbing. There should just be an understanding that actors will be screened in whatever dialect they’ve acted in or, if consistency is required, that a better effort will be made to find actors who can deliver in the necessary language. After first watching the Cantonese track, I was surprised to hear Faye’s reedy voice replaced by Huo’s deeper, less giggly interpretation when I switched to the Mandarin one. The best solution might be a quick finger on the audio button, but even that won’t do full justice to the performances.
Prod: Henry Fong 方平; Shan Dongbing 單東炳
Dir: Lawrence Lau 劉國昌
Writer: James Yuen 阮世生; Jessica Fong 方晴;Law Yiu-Fai 羅耀輝
Cast: Lau Ching-Wan 劉青雲; Huo Siyan 霍思燕; Candy Yu 余安安; Wayne Lai 黎耀祥; Derek Tsang 曾國祥; Elena Kong 江美儀; Kong Hon 江漢; Leung San 梁珊; Tony Leung Ka-Fai 梁家輝; Ann Hui 許鞍華; Ekin Cheng 鄭伊健; Remus Choi 蔡一傑; Calvin Choi 蔡一智; Edmond So 蘇志威; Niki Chow 周麗琪; Fruit Chan 陳果; Henry Fong 方平; Jo Kuk 谷祖琳; Lau Dan 劉丹
Time: 94 min
Country: Hong Kong