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King of Comedy as an Example of Modern Parody - Essay Example

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Course 18 July 2012 King of Comedy as an Example of Modern Parody The development of the post-modern image culture (Kearney 220) led to the increasing obsession of our society with images and parodies. While previously the television itself was generally regarded as the medium of information and the films as the expressions of plots that may turn the attention of the viewers to some underlying ideas, nowadays the vast majority of film making industry is oriented exclusively towards purely commercial promotion of the films as the commodities on communication marketplace…
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King of Comedy as an Example of Modern Parody
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"King of Comedy as an Example of Modern Parody"

Download file to see previous pages The use of parody is increasingly intertwined with that of satire, as the authors or film makers strive to mock or unmask the flaws and false realities of the life surrounding them. King of Comedy, a 1999 Hong Kong-produced comedy film, is just an example of such satirical parody. It is both a mockery of usual commercially successful but shallow kung-fu action movies and, to a less evident extent, the settings of Hong Kong the main hero has to deal with in his quest for success in the actor’s career. The viewer is subjected to a flurry of visual gags and usual comic tricks by Stephen Chow and other actors performing the roles of the film’s characters. At the same time, though, the film presents a characteristic mockery of the unrealities of the usual action movies by twisting or outright ridiculing the character types or situations found in them. The final moments of King of Comedy are even more of a parody nature, as the direct connection between commercial films and a more common advertisement is fully displayed with the characters openly advertising Pringles chips to the audience. The plot of King of Comedy is rather simple. Wan Tin-Sau (played by Stephen Chow himself), a not so lucky second-rate actor, tries to eke out his living by simultaneously performing as a movie extra actor and serving as the head of his village’s community center. He is approached by the local call girls who wish to increase their chance for wooing rich clients by acting like innocent school girls. Wan has to play a role of their teacher at such impersonating acts. However, one of these girls, Lau Piu-Piu, falls in love with their unfortunate teacher, as she becomes grateful to him for his efforts at teaching her play acts. However, Wan misunderstands her love for simple lust, and, after they make love for the first time, he tries to pay Lau for her alleged ‘service’. The girl is enraged and leaves Wan’s house. A poor actor is distressed due to his lack of understanding of women’s feelings. Later on, Wan is described in his more conventional environs, that is, at the film studio, where he tries to catch a new role in the possibly more paid-for position. He could not believe himself, when he is chosen for the highly sought role of the leading actor in the movie where the famous actress Sister Cuckoo is starred. Wan tries to impress her with his charm, which leads to him being involved in some fairly ridiculous situations. However, Wan’s happiness does not last long, as he is unexpectedly dismissed from the position he has just secured. He is then approached by one of the lunchmen at the studio, who, surprisingly enough, turns to be a Hong Kong police agent. Wan gets a proposal to be involved in an undercover operation, where he has to face the Triad mafia hoodlums, while his lunchman co-operative is severely wounded by them. Due to his sheer luck and the ability to distract his pursuers, Wan manages to win the day, impressing the surviving Triad operatives. Some of them would later even become his ...Download file to see next pagesRead More
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