In the history of the world, there have been indigenous peoples and there have been colonizers. In some cases, it’s viewed as a matter of perspective, but, by and large, if a people originated from a location, they are the native population and the invader is the colonizer. Hong Kong, viewed as a special administrative region of China, has undergone a changing of hands multiple times since 1841, with the natives of Hong Kong ruled by the United Kingdom in some form of another until July 1st, 1997. This is why Hong Kong films set in the middle to late 1800s until the late 1990s always include British involvement and why there’s frequently a distinction made in stories between Hong Kong characters and “mainlanders.” All of this comes into play in filmmaker Po-Chih Leong’s (Immortality) Hong Kong 1941 (等待黎明), a wartime action drama set at the start of the Battle of Hong Kong which centers three friends caught up in the escalating events. As part of Eureka Entertainment’s Masters of Cinema series, Leong’s Hong Kong 1941 is receiving a brand-new HD restoration, including new and legacy featurettes and a new audio commentary track.
Chow Yun-fat as Fei in HONG KONG 1941. Photo courtesy of Eureka Entertainment.
1941, Hong Kong. Three individuals lead disparate but slightly connected lives: Nam (Cecilia Yip Tung), the daughter of a rich rice merchant; her childhood friend Keung (Alex Man Chi-Leung), member of a formerly wealthy family who tries to take care of those around him, even if it involves theft or trickery; and Fei (Chow Yun-fat), a former actor who wants to try to gain his fortune by mining for minerals in either the U.S. or Australia on the rumored Gold Mountain. As the three grow close, they decide to leave the island together and are interrupted by the invasion of the Japanese Imperial Army. Under new rule, the three find ways to fight back, all while trying to figure out how to finally make it to Gold Mountain.
The following home review of Hong Kong 1941 is courtesy of a retail edition provided by MVD Entertainment Group. As such, I can confirm that the slipcover/O-card is of a thin variety and features new artwork from frequent collaborator Time Tomorrow which presents a close-up of a clenched fist holding a sword with the three leads standing on the hilt as blood runs down the gloved hand holding it. Those familiar with the film already will recognize the significance of the design to the emotional core of narrative, as well as to the larger historical context. Like prior Masters of Cinema releases, the back of the slip has several small film stills, a synopsis, and release information. Once the slip is removed, the liner displays a more classic or theatrical design with several significant character moments/narrative beats featured, though Yun-fat and Chi-Leung are featured more prominently than Yip Tung. The back of the liner is the same as the slip, minus the film stills. With the plastic case being the usual clear, the reverse of the liner can be viewed, which has the new artwork (should that be a preference).
L-R: Chow Yun-fat as Fei and Alex Man Chi-Leung as Keung in HONG KONG 1941. Photo courtesy of Eureka Entertainment.
As with other Eureka titles, the special features begin with the included booklet. This one includes a variety of full-page and smaller film stills, which are incorporated in and around the booklet. Amid the typical cast and crew information, the fabulous reminder to turn off motion-smoothing, and preferred tech settings for optimal viewing, there’s a single essay from Gary Bettinson, Senior Lecturer at Lancaster University and author, which explores the film from the viewpoint of Leong’s life, as well as the historical context of the narrative to Hong Kong itself. This is, of course, completely complimented by several on-disc featurettes, both new and semi-archival.
Before getting into those details, it’s important to mention that there are some small discrepancies between what Eureka Entertainment has listed on their site, what MVD Entertainment Group has listed on their site, and what is included on disc. Keep in mind that MVD notes at the bottom of their listing, “*All extras subject to change,” so please allow me to lay out what is included on the disc: three (3) ways to view the film (the original Cantonese mono, English dub, or audio commentary with frequent collaborator Frank Djeng); a 30-minute visual essay from writer/programmer Tony Rayns, a 21-minute archived interview with Leong titled “Crossing Cultures;” a 21-minute archived recording from Far East Film Festival 2023 featuring Leong discussing the film; six (6) archived interviews with actors Yun-fat (2), Yip Tung (3), and Paul Chun Pui (Japanese Imperial Officer Sergeant Wing) (1); and both the Hong Kong and International trailers. A mix of old and new, to be sure, but plenty to extend and expand any viewer’s experience with Hong Kong 1941. As is typical with Eureka, the materials are both robust and in-depth, providing some overlap in information while deviating as to ensure that one comes away with an enhanced perspective.
L-R: Alex Man Chi-Leung as Keung and Cecilia Yip Tung as Nam in HONG KONG 1941. Photo courtesy of Eureka Entertainment.
In terms of the restoration itself, there’s no included information on how the restoration was made, no information about the sourcing materials, transfer process, or tools used. One can’t even speculate on whether the materials came from Fortune Star, original distributor D & B Media, or if producer Sammo Hung (My Lucky Stars; Eastern Condors) via his studio Bo Ho Films (Long Arm of the Law; Millionaires’ Express) participated. What can be clearly stated is with the exception of some audio moments wherein it redlines (the music, not the dialogue), this is an incredibly strong presentation. There’s almost no visible grain (though that is a favorite for some), the colors are vibrant (contrary to most war films, thereby evoking a sense of vitality despite occupation), and the details are immaculate. Much of this is due to Brian Lai Shui-Ming’s (The Postman Strikes Back) cinematography, capturing 1941’s Hong Kong with a natural brush, ensuring that audiences (whether watching in 1984 or 2025) saw the locations as they were and not through a narrative prism. So often filmmakers utilize filters to influence their story, color-coding dramas with greys and blues or action with yellows and reds; with the absence here, the wartime story feels more grounded and realistic, therefore making the truth of it more vivid to the audience.
A film like Hong Kong 1941 is fascinating to view today for a number of reasons. For one, this is before Yun-fat working with John Woo on A Better Tomorrow (1986) and had yet to break out as the action star most audiences know the actor for. Prior to this, and much of this is covered in the Rayns video essay, Yun-fat has been mostly working in television and trying to make the transition despite taking part in 25 films prior to this. Having seen The Postman Strikes Back prior to this, one can certainly see why Yun-fat became so widely recognized as his charm and grace are incredibly convincing, able to play multiple sides as Fei with ease, while also displaying loyalty and conflict without excessive melodrama. For two, there are also a litany of appearances from actors whom audiences will know from other works, either through Hong Kong productions or overlapping casts (such as Sek Kin who plays Nam’s father is also the villain in Enter the Dragon (1973); Wu Ma who plays Chairman Liu folks may know from Yes, Madam! (1985) or Project A (1983); or Ku Feng who plays Shiu may be recognized from work in Come Drink with Me (1966) or Magnificent Warriors (1987); to name a few). Being able to connect these performers across works makes for a more engaging watch, observing how they play off and work together within the confines of the narrative. Most importantly for me, however, and perhaps it’s due to the recent viewing of Gate of Flesh (1988), which takes place in post-WWII Tokyo, is that Hong Kong 1941 takes on a powerful resonance as it tells its story of friendship, loyalty, and perseverance. This isn’t to imply that Japan should be viewed less harshly when looking back on their deeds, so much as it goes to show that there’s this cycle of colonization that occurs and anyone at anytime can be the next victim. Pre-World War II Hong Kong was beset by Japan around the time they attacked Pearl Harbor and, postwar, Japan was beset by British and American forces — all operating within their occupied territory with a similar oppositional vigor that created a false sense of ownership within the populace they had overtaken. That we, as a species upon this planet, keep trading lives, trading space, all through bullets and bombs, rather than through words and deeds is the lesson we’ve yet to learn from history and art.
L-R: Chow Yun-fat as Fei, Cecilia Yip Tung as Nam, and Alex Man Chi-Leung as Keung in HONG KONG 1941. Photo courtesy of Eureka Entertainment.
If Hong Kong 1941 hasn’t been on your radar yet, between its cast, the special features, and the restoration, this is a title that is easy to recommend. It doesn’t necessarily play out as one expects given the romantic setup amid wartime horror, but that’s what makes it interesting and engaging. Should one feel trepidatious about jumping in cold, then, yes, wait for a sale; however, keep in mind that Eureka Entertainment is limiting this edition to 2,000 copies and they don’t keep a running counter of availability on their site like other boutiques.
Hong Kong 1941 Special Features:
- Limited Edition [2000 copies]
- Limited edition O-card slipcase featuring new artwork by Time Tomorrow
- Limited edition collector’s booklet featuring new writing on Hong Kong 1941 and Po-Chih Leong by Gary Bettinson, editor of Asian Cinema journal
- Presented in 1080p HD from a brand new 4K restoration
- Original Cantonese mono audio track
- Optional English dub
- Optional English subtitles, newly translated for this release
- *NEW* audio commentary by East Asian film expert Frank Djeng (NY Asian Film Festival)
- *NEW* appreciation of Hong Kong 1941 by film writer, programmer and East Asian film expert Tony Rayns (30:28)
- Crossing Cultures – an interview with Po-Chih Leong by Frédéric Ambroisine (21:47)
- Po-Chih Leong on Hong Kong 1941 and Cultural Identity (Masterclass at Udine FEFF 2023) (21:38)
- Three archival interviews with Cecilia Yip
- Two archival interviews with Chow Yun-fat
- Archival interview with Paul Chun
- Theatrical trailer
Available on Blu-ray June 17th, 2025.
For more information, head to the official Eureka Entertainment Hong Kong 1941 webpage.
To purchase, head to the official MVD Entertainment Group Hong Kong 1941 webpage.
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Categories: Home Release, Recommendation
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