1997 | Cantonese | 35mm | Color | 93 min | Chinese Subtitle
Director: Stanley Kwan．Scriptwriter: Elmond Yeung, Jimmy Ngai．Cinematographer: Kwan Pun-leung．Editor: Maurice Li．Art Director: Bruce Yu．Music: Yu Yat-yiu, Keith Leung．Sound: Tu Du-chih, Kinson Tsang
Cast: Chingmy Yau, Sunny Chan, Eric Tsang, Lawrence Ko．Producer: Stanley Kwan, Benny Wong
Production: Kwan’s Creation Workshop．World Sales: Warner Bros. Entertainment
After coming out cinematically in his documentary (Yang ± Yin: Gender in Chinese Cinema ), Stanley Kwan tackles queer issues in this fictional work about a closeted homosexual, a married couple, and a bisexual stud whose stories luridly intertwine. Boasting a nonlinear narrative that moves freely from moment to moment, Hold You Tight is a melodrama that has fun with time, space and sexual orientation.
Date: 14/4 (Friday)
Venue: HK Science Museum Lecture Hall
Free admission for all screenings. Tickets are available to public on-site 30 minutes prior to each screening on a first-come, first served basis. Limit to one ticket per person.
What is the creative process of the film?
Golden Harvest and Wong Jing approached me to make a film with Chingmy Yau. I met her a few times before reaching a decision. I came up with the story when Elmond Yeung showed me a novel by Yi Shu in which a man is suddenly widowed and starts a relationship with a new woman. Like the role Sunny Chan plays in the film, the widower in the novel also shuts himself off, working at home alone. I realized something very interesting in Chingmy Yau when we met: the garrulous way she talked on the mobile phone is so similar to that of many working women. Both Elmond and I thought this could be incorporated into her character. By that time, we’d already decided to let her play both female roles.
What was Jimmy Ngai’s role in the script?
Jimmy wrote the final version of the script. Elmond’s version has more dialogue. Jimmy has probably seen more films than Elmond and me, his script was much more visual. The people at Golden Harvest had only read half of Jimmy’s script when they decided to go ahead with the production.
The widower Sunny Chan meets the gay character played by Eric Tsang and the young Jie, played by Lawrence Ko, and develops an ambiguous relationship with them. What’s behind such a treatment?
At our age, Elmond, Jimmy and I tend to pay attention to how young people think and behave. I love to hang out at nightspots, where many young men may claim to have girlfriends or have just broken up with them, yet after a few drinks, they’d have sex with men with no qualms. Straight or gay, Jie represents some of the boys Elmond and I encountered. Meanwhile, the mindset of middle-age gay men like me is more or less projected onto the character of Eric Tsang.
In the film, the date of the 1984 Joint Declaration and the Tsing Ma Bridge are juxtaposed. How do you gauge the Hong Kong motif?
This only appeared after Jimmy took over. I didn’t deliberately reference Hong Kong. Of course, he felt that there’s more potential in adding levels to the film. But do we need to be so blatant? We pushed it a bit at the end of the film; I think it’s not bad.
Interview with Stanley Kwan, Hong Kong Economic Times (Feb 9th, 1998)