The Canton Godfather (1989) (VCD) (Joy Sales Version) (Hong Kong Version) VCD

Set in the 1930s, the film begins with Cheng Wan Kuo (Chan), a poor and naive country boy who comes to the big city and ends up rescuing a top gang boss, who names him the new leader with his dying breath. He attributes this sudden change in fortune to having bought a rose from an elderly flower seller called Madam Rose, and comes to rely on her for luck as he tries to adjust to his new life. Trying to move the gang away from robbery and other criminal activities, Kuo opens up a nightclub, grooming a young girl called Yang Luming (Mui) into the lead attraction. When Madam Rose's daughter, who knows nothing of her mother's lowly occupation announces that she and her wealthy fiance are coming to visit, the big-hearted gangster agrees to help, doing everything he can to create the illusion that she is actually a high-flying socialite. Of course, things don't all go to plan, and Kuo also has to deal with rival gangs and a sneaky police inspector, not to mention the daily business of running a criminal empire.

Anyone expecting explosive action may well be disappointed with The Canton Godfather as the film is a loose adaptation of Frank Capra's A Pocketful of Miracles and as such is a whimsical comedy of miracles and mishaps. Thankfully, Chan proves every bit as good at screwball farce as he does at martial arts, and the film is wonderfully entertaining throughout, with a winningly sweet nature that is hard to resist. Chan's weak-willed though good-hearted gang boss is frequently hilarious as he attempts to make everyone happy, spending most of the film rushing around at Mui's beck and call. The plot itself, though simple, is well told and certainly keeps the viewer engaged, working well as a comedy of errors, with most of the laughs coming through incompetence or at the increasingly desperate situations that Chan gets himself into. As a result, the proceedings enjoy an amiable air throughout, and although there is a vague hint of satire at times, in general the comedy is far more good natured and less crude than in many other Hong Kong films.

The production was the most expensive from Hong Kong at the time, and the money spent certainly shows itself on screen, with the film providing lavish spectacle with beautifully designed, elaborate sets and costumes. This makes for atmospheric, enchanting viewing on a scale comparable to that of the Hollywood epics of old. The direction is excellent, with some great swooping camera work that makes the most of the locations, and a real cinematic flair, which perfectly complements the big budget gloss. Although the film does not feature too much in the way of action, there are a few fight scenes, which show Chan at his most creative, clearly enjoying himself on the elaborate and expensive sets. These work well to help pick up the occasionally flagging pace and provide a few thrills, and were spectacular enough to win the Best Action Choreography prize at the Hong Kong Film Awards.

The Canton Godfather is pretty much required viewing for Hong Kong film fans as a landmark production from one of the industry's leading stars. It's obvious that Chan poured his heart into the film and his efforts certainly show on screen, and the film is every bit as entertaining and amusing as it was on its original release.

by James Mudge - BeyondHollywood.com

Although two comic sequences run a few minutes too long, degenerating into sub-Benny Hill theatrics, and although the orchestral score sinks to burlesque on more than one occasion, this movie stands as one of the world's finest. Chan plays a country bumpkin arriving in 20s Hong Kong and stepping penniless into the middle of a gang war. One of those "only in the movies" mix-ups occurs and Chan finds himself the head of the gang. That's the Mr. Canton part.

Lady Rose isn't Anita Mui (who plays a club singer working in Chan's nightclub to pay off her father's debts) but a penniless rose hawker whom Chan considers his lucky charm. She's been passing herself off as a high society matron in letters to her overseas daughter, whose artificially buttressed high life has attracted a wealthy fiancee. Daughter loves her mum, and so she's coming back to Hong Kong, fiance's well-heeled family in tow, for a prenuptial celebration, never dreaming that her mother actually lives in a slum.

Chan and Mui, toasts of the Hong Kong underworld, step in and decide to make mom a lady, installing her in an expensive suite and enlisting various goons and cheap hoods to impersonate the gadabouts of the upper class. Complications ensue.

With a plot this complicated, and cinematography this accomplished, the movie itself seems like one of those impossible Chan fight scenes where he seems to pull off the physically impossible. Chan manages to keep his plot afloat with delicate pokes and jabs, while teasing out once-in-a-lifetime performances from his supporting cast, not doing so badly himself, perfectly evoking period Hong Kong, and staying light on his feet. Americans sticking Chan in fare like Rush Hou should take a look at this picture and see how it's done. Chan is a master director.

The action comes in a couple of set pieces, scattered about the movie that are more integrated Gene Kelly numbers than the showstopping production spectacles of a Busby Berkley extravaganza. Choreographed and stylized to the point of seeming perfectly Balanchinian, they are some of the most rarefied fight-work Chan has ever done.

Like a glass of expensive champagne, the movie never loses its fizzle, leaving audiences dizzy and light-headed. When this movie's over, no matter who and where you are, you've got no choice but to applaud.

by Grady Hendrix