Ente gut, alles gut

This is another fun Hong Kong comedy starring Michael Hui and Ricky Hui (their younger Sam Hui has a cameo appearance). Here, Hui (Michael Hui) runs a restaurant with a tasty roast duck recipe. However, his employees and customers have to endure the a run-down and unsanitary looking restaurant - Hui's way of cutting maintenance cost. Hui might have to rethink his strategy when an American-style fast-food restaurant opens across the street.

It's a nice little movie with some laughable moments and decent acting, with Michael and Ricky delivering their unique comedy brand that will sure entertain the audience. Sylvia Chang, Lowell Lo, Wing-Cho Yip and Kai-Nam Ho all make a great team in making the plot pretty exciting by making the audience guess how they will be able to pull off competing with the popular fast food restaurant.

The movie is not as suspenseful or funny as previous Hui Brothers films like The Contract and Security Unlimited, but it's still great comedy that surpasses many of today's films of the 00s and on.

Grade B+

Not sure if there's HD Blu ray version yet, funny, love the Chicken costume fights beat up Duck costume guy. It's giving me Peter Griffin vs Chicken guy. Yes Billy Yip should be added to the cast as the Taxi Driver Guy in the beginning you can see his face clearly it's him he is so recognizable. It's about 2 restaurants who opened across each other competing each other. Nothing sexual scenes. There are real life situations such as City inspector inspection of food restaurants but nothing this dramatic. It cast Ricky Hui who is also famous for his Character in Mr Vampire. It also Cast Lowell Lo who is also in many famous films such as Mortuary Blues and You Bet Your Life with Sandra Ng. Yes this has English subtitles release version available.

A strange Chinese comedy, produced in Hong Kong (by the time, still British) about a roast duck restaurant, which suffers from the opening of a fried chicken competitor, and American type "fast food" restaurant, that threatens to close the old chinese competition.

The comedy is slapstick, taken to the extreme, the characters grotesque and the humor basic.

It seems to have seduced many viewers in its day, judging by the ratings on IMDB, but it is manifestly a domestic consumer product. Any foreigner will find, at the very least, exotic, this popular Chinese humor.

A mere curiosity, for cinephiles who like to try everything.

Given my love of the Hong Kong cinema, then of course I had to sit down and watch the 1988 comedy "Gai Tung Ngap Gong" (aka "Chicken and Duck Talk") when I had the chance to sit down and watch it for the first time here in 2024.

I had never actually heard about the movie prior to watching it. But that hardly mattered, because it being a Hong Kong movie that I hadn't already seen before was more than sufficient to make me sit down and spend 99 minutes on watching it.

Writers Michael Hui, Clifton Ko, Joe Ma and James Yuen put together an enjoyable and entertaining script and storyline. Sure, it was a late 1980s Hong Kong comedy in every sense of those words, but that was actually a good thing. I was genuinely entertained throughout the course of the entire movie. The movie's story and narrative actually still holds up today, given the small independent restaurants that are found all over Hong Kong, the ones that have way more charm and style that those chain restaurants that overshadow them.

The acting performances in "Gai Tung Ngap Gong" were good, though I was actually only familiar with Ricky Hui on the entire cast list. But I will say that the actors and actresses put on good performances and made the movie all the more enjoyable.

While this wasn't a comedy that had me bursting out laughing, it was still an enjoyable comedy, because it was definitely a feel-good type of comedy. And it was a mixture of the storyline and the well-written characters that made it so.

All in all, "Gai Tung Ngap Gong" is a movie that is well-worth sitting down to watch if you enjoy the late 1980s Hong Kong cinema.

My rating of director Clifton Ko's 1988 movie "Gai Tung Ngap Gong" lands on a five out of ten stars.

The "Chicken and Duck Talk" was one of the classic films produced by Hong Kong's film industry in its heydays from 1980 to 1995. The story itself is simple enough: an old mom-and-pop restaurant suddenly faces a new flashy competition in the form of a fast food store, and Michael Hui as the owner of the restaurant struggled but succeeded in winning the battle for business after reimaging his business. On a purely entertainment level, Michael Hui with his side-slap comedy skills, entertain audiences with various hyperbolic acts, which should keep the audience entertained on a bored night. This is a perfectly legitimate perspective to view the film but it misses the deeper theme.

Underneath the comedic acts, Hui managed to convey the concept of no matter how good traditional ideas/things are, if you can't market them by making them look pleasing and attractive to bells-and-whistles obsessed shallow modern/postmodern generations, you stand no chance against competitors that are all-show-but-no-depth. If you managed to get this point, congratulations, you are watching the film at a deeper level than 98% of Hong Kong's population, who by and large have failed to appreciate the themes beyond the general concept of good guys overcoming baddies.

And yet another deeper theme that has only gradually started to be appreciated in the early 21st century is the theme of traditional mom-and-pop businesses full of sentimental attachments versus the efficient but heartless modern enterprises. It may not be a wholly accurate depiction by Hui after all - there are plenty of cold heartless tyrants amongst mom-and-pop shops in Hong Kong and also plenty of good multinational companies, but it does give us pause to consider whether we have sacrificed our interpersonal relationships for the sake of modern developments, and whether this must follow the waves of globalization. This theme is still far too radical and anathema for a vast majority of Hong Kong people even 20 years on, who worship at the altars of "economic development above all" and the "out with the old, in with the new" mentality, and as far as I know the film pundits who have raised this point are either from the West or Taiwan.

All this is not surprising if you are aware Hui holds a Bachelor of Social Science degree in Sociology from the Chinese University of Hong Kong before he entered the entertainment industry. He knows how to document the good and ills of a society and offer commentaries via visual media. Will the film's deeper themes be appreciated in Hong Kong one day? Hopefully so, if Hong Kong wants to regain its soul.