The Young and Dangerous Series and the people behind it: Once Upon a Time in Triad Society – 1996
During the main series of Young and Dangerous there have been a number of spin-offs, mainly focusing more on the popular side characters that have appeared throughout, such as Sandra Ng’s Sister 13 in Portland Street Blues (1998) and Anthony Wong’s Tai Fei in The Legendary ‘Tai Fei’ (1999).
Surprisingly the first spin off focused on the villainous Ugly Kwan, played by Francis Ng. Of course it’s no secret that Ng was one of the best parts of the original Young and Dangerous (1996), but it is still unusual a character like him would be spun off into his own movie.
The version of Ugly Kwan that appears in Once Upon a Time in Triad Society (1996) is slightly different from the version that appeared in Young and Dangerous. It is never made clear if he is even meant to be the same Ugly Kwan, even though all his mannerisms are the same. The only difference here is that this Ugly Kwan is slightly more sympathetic. It plays more like an alternative reality version of Kwan, only if he made some different decisions in life.
The main plot of the film follows Kwan, with him being shot at the start of the movie. He realises that no one really cares that he has been shot, not his men or even the hospital staff, with them putting him to the end of the queue. The film then has him thinking back over his life and how he got to this point. It appears that Kwan wasn’t always the horrible human being he appeared to be when we first saw him in Young and Dangerous. At the start of his Triad life, Kwan comes across as quite stupid. Through his associations with other people, especially the woman in his life played by Loletta Lee we start to see how Ugly Kwan becomes the piece of shit Triad boss we love to hate.
The whole film is told from the point of view of Kwan, so at points in the film it is unclear if he is telling the truth, which with Kwan you can be sure he probably isn’t. The film still retains essentially who Kwan is, with the film makers not feeling the need to sanitise Kwan now that he is the lead character. At some points we see one side of the story showing Kwan as not being such a bad guy, only to see another version showing Kwan’s violent rise up the ranks, betraying anyone who gets in his way. The film has fun with what version of events that you should believe. It also gives the cast a chance to play different variations of the same character within the film, depending on what version of events is being told.
In many ways the film is similar in structure to the slightly superior Too Many Ways to Be No 1 (1997), which Ng also stars in., with that film also giving alternative versions of the same story during its run time.
Unlike the overly serious tone of Young and Dangerous, Once Upon a Time in Triad Society can blackly comic with the over the top antics of Francis Ng being hilarious at some points in the film, although the film still is overall a serious Triad drama. There are also no handsome leads like Young and Dangerous, with the cast looking more like real people than the comic book inspired Chan Ho Nam and Chicken.
Although Once Upon a Time in Triad Society is well known as being a spin off from Young and Dangerous, there is actually no official connection between them. None of the main film makers had worked on Young and Dangerous, with Once Upon a Time in Triad Society even being released by another production company Concept Link Productions Ltd.
The only true link to the original series is the appearance of Francis Ng as Ugly Kwan, and even this could be disputed as the character and events are seemingly unrelated to what happens in the first Young and Dangerous.
Director Cha Chuen-Yee doesn’t have the talent of an Andrew Lau, but manages well with the material and manages to make Once Upon a Time in Triad Society stand out from the usual Triad pot boilers of the time. It does help that he has an excellent leading man in Francis Ng and a better than average script. The only main drawback of the film is the overall cheap look of the film especially when compared with the stylish Young and Dangerous.
Once Upon a Time in Triad Society and its sequel are probably the best films that Cha directed. His film making career dates back to the mid 1980’s, with his first film as director being the Shaw Brothers production of Journey of the Doomed (1985), a mildly enjoyable action movie that is notable for having a leading role for famed action director Tung Wai. From this he would go on to work on the slightly more successful comedy Mr. Fortune (1989), featuring an early role from Chingamy Yau before her Naked Killer (1992) fame.
He would move back into the action genre with Middle Man (1990), the fifth part of the In the Line of Duty series. A decent stab at the action genre, with some excellent action scenes. It unfortunately pales in comparison when compared to the earlier entries in the series. Cha had previously worked on the series, serving as assistant director on In the Line of Duty 3 (1988).
Moving into the 1990’s, Cha would go on to direct a number of sub-par films such as the category 3 sex movies Take Me (1991) and Basic Impulse (1992), both of which he also produced. He would follow them up with another Category 3 movie, the enjoyable Legal Innocence (1993), which features an early starring role from Francis Ng, although he is quite subdued in comparison to what audiences have come to expect from him. The film is based on a true life murder case which also formed the basis for the famous Category 3 film Remains of a Woman (1993), which is also famous as being one of the first Category 3 films to win a major award. Again Cha would also serve as producer on Legal Innocence.
Before he would get to Once Upon a Time in Triad Society he would work on a number of other films of various qualities, including the terrible Awakening (1994), the diverting The Rapist (1994) and the enjoyable Secret Lover (1995), which features a great turns from Lily Lee and the always excellent Shing Fui-On.
After the two Once Upon a Time in Triad Society films he would go on to make the Hollywood style crime caper Theft Under the Sun (1997), which saw him once again working with Francis Ng, although he was relegated to a supporting turn this time which is to the films detriment.
Moving into the 2000’s, Cha would again team up with Francis Ng on Fall for You (2001), a decidedly poor romantic drama. At least his next film was better. Superkid (2006), a supposed kid’s movie that has enough adult themes to make it worthwhile. Superkid would be Cha’s last Hong Kong movie to date as a director, although he is listed as director on the mainland China production of the comedy Kill the Boss (2012).
As well as working as a director, Cha also worked as a producer. Serving as a producer on his own films, he also worked on the science fiction movies Once Upon a Time in 2040 (1992) and its sequel Once Upon a Time in 2040 2 (1993). In addition he also produced the fun comedy F***/Off (1999) starring Dayo Wong and the crime thriller Infernal Mission (2004).
During his time as a director and a producer, Cha has also dabbled with acting roles. Although mainly small appearances, he can be seen in such smash hits as Tiger Cage 2 (1990) and the much later One Nite in Mongkok (2004).
As mentioned earlier, Francis Ng is excellent in the leading role of Ugly Kwan, with the film being tailor made for his particular style of acting. Getting a chance to play both the hero and villain in the same film, with Kwan’s telling of his story being very different from what actually happened. In one scene you may think he is just a misunderstood anti-hero before you get the full story to see that he is a complete bastard. Killing people, raping women then selling them into prostitution are just a couple of the crimes he gets up to during the film. Ng had been the lead character in a number of films previously, but Once Upon a Time in Triad Story is his first truly great leading role, and there would be better still to come, with his role in the sequel being even better.
The supporting cast aren’t exactly on par with the films lead, but still do decent work. Loletta lee is good in her role as Kwan’s love interest, who he nicknames Restaurant. Like Ng, the film gives Lee a chance to play different versions of the same character due to Kwan’s lying. It’s one of Lee’s better roles, and definitely better than the other romantic interest roles she has played in the past.
Lee, who is sometimes credited as Rachel Lee, has a film career dating back to the early 1980’s, appearing a number of well known films such as Tsui Harks Shanghai Blues (1984), Everlasting Love (1984) alongside Andy lau and Merry Christmas (1984) from director Clifton Ko. Throughout the remainder of the 1980’s Lee would make appearances in films of various quality such as the excellent Final Victory (1987) from director Patrick Tam and the comedy It’s a Mad, Mad, Mad World (1987) starring alongside a whole host of Hong Kong stars such as Eric Tsang, Bill Tung, David Chiang and Lydia Shum.
She would return the following year for the sequel, It’s a Mad, Mad, Mad World 2 (1988), along with the majority of the original cast. One other point of interest is that it also features an acting role for Young and Dangerous script writer Manfred Wong. She would stay on for the third part of the series, the equally fun It’s a Mad, Mad, Mad World 3 (1989), which is really just more of the same but no less enjoyable for it.
Moving into the 1990’s, Lee would star as Pearl in the cult hit The Dragon from Russia (1990), alongside Sam Hui and Maggie Cheung. There would also be the Category 3 prison set ghost thriller comedy Jail House Eros (1990), which is arguably a better film than the overrated Dragon from Russia.
The following year she would work with Once Upon a Time in Triad Society director Cha Chuen-Yee for the first time, on the race car drama Off Track (1991). The film is watchable for a decent lead turn from Jacky Cheung and some impressive car stunts from Blackie Ko. In the same year she would work on the In The Line of Duty series, with her playing a part in the sixth entry Forbidden Arsenal (1991). Although nowhere as classic as some of the earlier films, Forbidden Arsenal has enough going for it to please Hong Kong action fans.
The next couple of years would include a number of throwaway roles for Lee, with her not making much of an impression in films like Pom Pom and Hot Hot (1992), which had her once again acting alongside Jacky Cheung and also Clarence Fok’s Gun n’ Rose (1992), a decent enough action thriller that doesn’t really give any of its supporting cast, including Andy Lau, a chance to shine.
During this time she would once again return to the It’s a Mad, Mad, Mad World series with It’s a Mad, Mad, Mad World Too (1992), which proved to be another fun time at the movies.
Through the next few years Lee would star in a number of different genre film, some better than others. There was the enjoyable but silly Legend of the Liquid Sword (1993) then Crazy Love (1993), which is a poor attempt at a romantic drama but earns its Category 3 rating for the scenes of Lee appearing nude. She would stay in Category 3 territory for the following years Girls Unbutton (1994), one of director Taylor Wong’s poorest films, which is only livened up by a supporting turn from Elvis Tsui Kam-Kong.
In the same year as Once Upon a Time in Triad Society, Lee would also headline the surprisingly decent Sexy and Dangerous (1996) a female led Young & Dangerous rip off. Sexy and Dangerous would also have her starring alongside Francis Ng, although he was now the co-star. Not surprisingly Ng manages to steal the film away from most of the cast.
During the year she would also have a leading role in Eric Tsang’s youth drama Those Were the Days (1996). Well acted but ultimately quite boring, I only bring it up as it shares the title with another Young and Dangerous spin off.
Moving onto the later part of the decade, she would star in a number of higher profile projects, with the critically acclaimed Ordinary Heroes (1999) from director Ann Hui being a definite highlight. She would follow that up by working with the great Herman Yau on Nightmares in Precinct 7 (2001). Starring alongside Andy Hui, Nightmares in Precinct 7 proved to be a worthwhile genre effort that is only slightly let down by its attempt at a shock ending. Still it is definitely one to watch if you have the chance.
In the same year, she would again work with Herman Yau and Andy Hui, starring in Killing End (2001), a decent thriller that is supported by two great lead performances from Lee and Hui. Not exactly the best film to come from Herman Yau, but nowhere near his worst.
Lee would appear in films less through the remainder of the decade, although supporting performances in films such as the excellent Pye Dog (2007), where she shares the screen with an excellent Eason are a highlight. Her most recent film credit is a supporting role in the poor attempt at a romantic drama, Anniversary (2015).
The other notable performance is from Edmond So, who stars as Kwan’s best friend So Wai, coincidentally being the real name of Edmond So. Like the other characters in the film, there are different versions of the character in the film due to the version of events that Kwan decides to tell the audience. This gives So a chance to stretch himself, making Once Upon a Time in Triad Society one of his better roles. In some scenes he plays his character as loyal, then shows him later as a scummy con man, with the audience unsure of what version is the true So Wai.
So started out in the film business with relatively small roles. Starting with films like youth drama Grow Up in Anger (1986) and Eric Tsang’s comedy drama Trouble Couples (1987). Moving into the 1990’s, he can be spotted in the star studded The Banquet (1991), and also a small supporting turn in Wong Jing’s Casino Tycoon 2 (1992).
After getting a meatier role in Once Upon a Time in Triad Society, So would work again with both director Cha Chuen Yee and Francis Ng on Theft Under the Sun, as well as the superior cop drama Task Force (1997), which turned out to be one of the best films to come from Hong Kong that year.
For some reason Task Force (1997) has been overlooked in the West, even though it features everything Hong Kong cinema fans have come to love, with quirky characters played by the likes of Charlie Young, Eric Tsang and Karen Mok and cameo roles from director John Woo and Japanese actor John Lone. In addition there are a number excellent action scenes from China Kar-Lok, inspired by various types of Hong Kong action movies such as heroic bloodshed and martial arts movies.
So finished out the year by making small appearances in film such as Jackie Chan’s Gorgeous (1999) and a headlining role in the supernatural thriller The Devil Shadow (2000).
Moving into the 2000,s the roles would unfortunately only get worse. Dragon the Master (2001), Crazy for Pig-Bone in Pot (2001) and Shadow (2001) are some of his poorest of the period. Luckily he would move on to better fare with Derek Yee’s Lost in Time (2003), although it is a relatively small role.
Similarly he would have a small role in the excellent My Name is Fame (2006). Featuring a terrific leading role from Lau Ching-Wan and a whole host of celebrity cameos from the likes of Ekin Cheng, Tony Leung Ka-Fai, Gordon Chan and Ann Hui.
It would be a good number of years before So would make his next film appearance, with a cameo appearance in I Love Hong Kong 2012 (2012). He would also have a cameo in the drama Return of the Cuckoo (2015), appearing in the film as himself. His most recent role is in the Jacky Cheung starring Heaven in the Dark (2016), based on the stage play French Kiss.
The film has three credited producers. As well as having Cha Chuen-Yee himself, it was also produced by William Wu Shing and Rico Chung. Once Upon a Time in Triad Society would prove to be the only credited Hong Kong film to come from Wu Shing.
Rico Chung on the other had worked on a number of director Cha Chuen-Yee’s earlier films, including the already mentioned Legal Innocence, The Rapist, Awakening, Secret Lover and the two Once Upon a Time in Triad Society films, all of which he also wrote.
As well as producing these he would also produce the comedy F***/Off (1998) for director Abe Kwong as well as director Billy Tang’s Dial D for Demons (2000), which should probably be avoided.
As well as producing Rico Chung has also directed a number of features, starting with the Category 3 exploitation film Best of the Best (1994), which he also wrote. Not to be confused by the Herman Yau film, or even the Andrew Lau film.
A good deal better was his work as a director on A-1 (2004), although it is probably more due to the film being co-directed by Gordon Chan. Still A-1 is a better than usual thriller centred round a reporter’s attempts to find out who killed her boyfriend. Featuring excellent performances from Angelica Lee, Anthony Wong, Tony Leung Ka-Fai and the unfairly shunned Edison Chen, A-1 is well worth seeking out. Chung also wrote the film along with Chan, and next to Once Upon a Time in Triad Society 1&2, is probably his best work as writer.
He would go on to direct Who’s Next (2007), which he also produced. Featuring a lead role from Jordan Chan, it unfortunately pales into insignificance compared to the previous A-1. He would work again on with Jordan Chan on the slightly better received Mysterious Island (2011), although it could never be mistaken for being a good film.
As mentioned before Chung has also been a scriptwriter on a number of occasions. He was the sole writer on Once Upon a Time in Triad Society. As well as working as a writer on his own films as director and producer he has also written such films as City War (1988), Dont Fool Me (1991) and much later he co-wrote the boxing drama Xanda (2004).
Unlike some of the other films in the Young and Dangerous series, Once Upon a Time in Triad Society actually has a number of action scenes, with the final shootout being the best of them. Action choreography was carried out by the great Ridley Tsui. Tsui has never really been in the big leagues like his more famous contemporaries such as Yuen Woo Ping and Yuen Kwai, he has still managed to etch out a decent career in the business. A good deal of his action scenes are better than the films they appear in, with Tsui always bringing his A game. His action in Once Upon a Time in Triad Society does help liven things up a bit in the finale, and makes a change from the usual type of action in the Young and Dangerous series.
Tsui’s career as action director started by working as an assistant action director, working on a number of terrific Hong Kong movies, such The Dragon Family (1988), God of Gamblers (1989), Once Upon a Time in China (1991) and the Blue Jean Monster (1991).
Tsui would work his way up the ladder and go on to work with a host of fellow action directors on Tiger on the Beat 2 (1990), the unfairly maligned sequel to the earlier smash hit. In the same year he also worked along with Xiong Xin-Xin on Skinny Tiger and Fatty Dragon (1990), starring Sammo Hung and Karl Maka.
As I mentioned, a lot of the films Tsui has worked on have been beneath his talents, with titles like Year of the King Boxer (1990) which he also directed, The Rapist Beckons (1992) and Girls in the Hood (1995). In amongst these titles he has worked on the odd Hong Kong classic such as Ringo Lam’s Full Contact (1992) and A Fighters Blues (2000).
As well as working as action director, Tsui has been the main director on a number of films, but none of them could exactly be called quality films. The best of a bad lot would probably be The Wild Couple (1996), which has some good action scenes and features a leading role for the great Roy Cheung.
As well as working behind the scenes, Tsui can also be seen in front of the camera, with him appearing in over 50 films throughout his career, with appearances in Once Upon a Time in Triad Society and its sequel amongst them.
