Review #1512: Lost and Found.
Cast:
Takeshi Kaneshiro (Mr. Worm), Kelly Chen (Chai Lam), Michael Wong (Ted), Cheung Tat-ming (Ming), Henry Fong (Chai Ming), Josie Ho (Yee), Joe Ma (Ting's dad), and Steven Ma (Chai Hong) Written and Directed by Lee Chi-Ngai.
Review:
Not every film has to be an acclaimed classic or well known around the world to merit some sort of attention. Hong Kong has its own distinct place within world cinema through various films and directors over the decades that have lent plenty of interest both in the country and abroad. Filmmakers can come from anywhere, as demonstrated on several occasions, whether well-known or obscure. While Lee Chi-Ngai isn't particularly known as other names in Hong Kong, he has still managed to cultivate a lengthy career for himself. Chi-Ngai started as an art director, with his first film credit being for Brotherhood (1986). He ventured first into directing with Vengeance Is Mine (1988) getting into writing with Goodbye Hero (1990). Even the stars of our film have credit to still linger within its film industry. Our main star is Chen, who had started her twenties with commercials and music videos before adding acting to her foray, and she is generally thought of now as a Cantopop icon. Kaneshiro (born in Taiwan) had also started with music by the time of his twenties before soon taking on acting (soon marked by his appearances in several films in Hong Kong, Japan, and China). Wong is the distinct one of the bunch, as he had left his native America to pursue acting in Hong Kong after graduating high school, gradually rising above challenges to a respectable modest career in the Hong Kong industry.
What does it mean to be lost? And once that is known, what will it take to be found? One could have plenty of money or have lived a long life and still have a world of difference when it comes to hope and a good life. I don't generally tend to philosophize when it comes to films, but it is nice to have one that can drive a smile (or a tear) and have a little room for some thoughts with a film like this. You could live your whole life in the most middling of middle-ground life and still have high hopes in a world of conflicting dignities and misfits among conflict over what really matters, and this is an effective film in well-mannered poignancy. It shuffles itself within drama and romance with a brush stroke like poetry that for the most part keeps itself in check with a fair heart and a decent cast to go alongside a film dealing in episodic moments worth some curiosity. Chen is given a tough task with a vulnerable role in center of a terminal illness drama that also has voiceovers to fill the layers - in that sense, she does just fine with what is needed, certainly useful enough to see growth play out with dutiful care. Kaneshiro proves just as worthy in bright-eyed optimism that exudes hopeful charm that we gravitate to from the moment we first see him trying to find something lost in a trashcan. Wong does fine with a quiet but resourceful reflection of resourceful calmness that is reliable in someone to look upon when not quite there. The rest of the ensemble prove just fine, lending a hand in little moments that drive curiosity in what it means to run with hope (or perhaps run towards it), such as trying to make roses grow so a kid can believe that it will help his mother get better. It moves along at 110 minutes with reasonable movement that while perhaps a bit drenched in sap does generally find itself in the right place at figuring what keeps one going without becoming manipulative. On the whole, this proves to be a finely-hidden gem that merits a curious look (perhaps on the Internet) for those seeking something humanely casual and unique of its time and place in its heart and soul for hope.
Overall, I give it 8 out of 10 stars.
