Course:ASIA325/2025/Enlightenment Through Absurdity: Stephen Chow's A Chinese Odyssey Part One: Pandora's Box

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Enlightenment Through Absurdity: Stephen Chow's A Chinese Odyssey Part One: Pandora's Box

Group Members' Contributions

Work Group Members
Introduction PR
Stories Behind The Film PR
Film Receptions PR
Scholarly Literature Review PA
Comparative Analysis CE
Alternative Interpretation CE PA PR
Conclusion CE

Introduction

An image of the monkey King from the opening scene.

A Chinese Odyssey Part One: Pandora’s Box (1995) is the first instalment in a duology of films known collectively as A Chinese Odyssey. The film is directed by popular Hong Kong director Jeffrey Lau and stars Stephen Chow as the Monkey King Sun Wukong, loosely adapting the classic Chinese novel Journey to the West by Wu Cheng’en. It combines fantasy elements with romance, slapstick, and time travel to bring a singularly unique vision of the source material to life.

Premiering in Hong Kong theatres in January of 1995, Pandora’s Box introduces audiences to Joker (often called Master Bandit), played by Chow. He is a foolish bandit who (reluctantly) must uncover his true identity as the Monkey King and continue on his path towards the west, towards enlightenment. On the way, hijinks ensue, including a romantic entanglement with  the Skull Devil Bak Jing-jing (Karen Mok), a betrayal by his second in command Pigsy (Ng Man-tat), and an encounter with the cowardly monk Grandpa Buddha (Jeffrey Lau) in the form of grapes.

This wiki project will begin by exploring notable stories and the historical context behind the production of A Chinese Odyssey. This includes the necessity of forming a coproduction between Hong Kong and Mainland China film studios, and the friction that ensued from such a collaboration, as well as the sociopolitical atmosphere of Hong Kong at the time that allowed for the rise of Mo lei tau comedy. Next, we will examine the film's reception, tracing a path from near failure to becoming a timeless classic via the buoying force of internet discussion boards and online meme sharing.

In the scholarly literature review, we survey critical research regarding the film that discusses topics such as the film’s thematic ambiguity and tenuous relationship with the source material, its manipulation of time and identity, and its varying treatment of religious themes in Buddhism, Taoism, and Confucianism. The comparative analysis evaluates key differences and similarities between A Chinese Odyssey and King Hui’s Come Drink With Me (1966), in particular the diverging way in which each film approaches the theme of Buddhism, and the converging way in which both films use Wuxia elements to explore themes of disguise and concealment.

Finally, in the alternative interpretation we highlight two scenes that support our argument that A Chinese Odyssey showcases a form of “enlightenment through absurdity” by using exaggerated visuals, slapstick comedy, and surreal set pieces. The film approaches Buddhist themes of karma, reincarnation, and spiritual growth through a lens of humour and seemingly nonsense, much like a Zen koan. By following this marriage of absurdity and enlightenment we aim to show that the film transcends parody and becomes a thought provoking discussion on duty and the path to redemption.

Stories Behind the Film

A Hong Kong-Mainland Coproduction

Film Cover for A Chinese Odyssey Part 1: Pandora's box
Film Cover for A Chinese Odyssey Part 1: Pandora's box (1995)

The film A Chinese Odyssey Part One: Pandora’s Box (1995) is the first part of Jeffrey Lau’s duology known collectively as A Chinese Odyssey, starring Stephen Chow. The second part being A Chinese Odyssey Part Two: Cinderella (1995). The two films were shot back to back and released within two weeks of each other, premiering in Hong Kong cinemas on January 21st and February 4th respectively[1]. The film was a coproduction between leading man Stephen Chow’s fledgling film company Choi Sing Film Company and Mainland China’s Xi’an Film Studio, regarded as one of the six major film groups in China (p.162)[2][3]. This partnership granted Hong Kong based filmmakers Lau and Chow the ability to market their film to a larger audience in Mainland China, and also provided them access to important filming locations such as the natural desert landscapes and culturally significant sites of Ningxia (p.162)[2]. Despite the benefit of filming in these new and exciting locations, a must for bringing their fantasy vision to life, the partnership was also a matter of necessity as investors found the film’s complicated and chaotic storyline to be unmarketable[4]. Thus, financing the film proved difficult. By forming this coproduction, Lau was also able to take advantage of the cheaper labour, equipment, and facilities in Mainland China, bringing costs down significantly (p.164)[2].

Throughout the coproduction, creative control was maintained by the Hong Kong filmmakers, for both good and ill. The “unmarketability” of the film was a direct result of Lau’s directorial ethos of taking an improvisational approach to filmmaking, a guerrilla style that was popular in Hong Kong at the time, where directors began filming with only a rough outline of the plot (p.164)[2]. This approach informed the film's sense of chaos both on and off the screen, with actors often not knowing the story, or having restricted access to scripts while on set (p.164)[2]. Further chaos ensued when production faced both cultural and logistical tensions due to the Hong Kong director and actors insisting on speaking Cantonese on set while the Mainland actors and crew only knew Mandarin (p.163)[2].

Romance on and off the screen

Leading man Stephen Chow and Karen Mok’s relationship began during the production of A Chinese Odyssey, where Chow cast Mok in the role of Bak Jing-jing, his onscreen love interest. He discovered Mok early in her career and gave her her first leading role, seeing potential in her unique look and acting energy which stood out against the more conventional beauty standards in Hong Kong cinema of the era[5]. Their offscreen romance provided fuel for their onscreen chemistry, especially with regards to the tragic and romantic undertones of A Chinese Odyssey. Mok’s casting was not only personal, but also strategic in that her character provides the main emotional arc of the film. This casting also marked a turning point in her career, providing a springboard into her later stardom that includes both film and television roles, a successful singing career, global brand partnerships, and even carrying the Olympic torch during the 2008 Summer Games held in Beijing[6][7]. Though their relationship has since ended, the two have collaborated professionally since, notably on Chow’s blockbuster hit Mermaid (2016) for which Mok recorded the popular song You Are the Best in the World, with Chow providing backing vocals[8].

The Rise of Mo lei tau and the Comedic Lineage of Stephen Chow

Stephen Chow, A Chinese Odyssey, and Mo lei tau as a cinematic form owe their existence to the Cantonese language comedies that rose to prominence in the 70s, especially those by Michael Hui. Hui helped reinvent and revitalize Cantonese language cinema with hits like Games Gamblers Play (1974) and The Private Eyes (1976). His films were often rooted in working class absurdities and get-rich-quick schemes which laid the groundwork for a style of humour that was anarchic, irreverent, and deeply local[9]. Chow would later modernize and radicalize this theme into a unique blend of slapstick, wordplay, meta humour, and pop culture references.

The rise of Mo lei tau comedy in 1990s Hong Kong cinema coincided with a period of cultural uncertainty, especially as the 1997 Handover drew nearer. The genre gained popularity through actor Stephen Chow and directors like Jeffrey Lau as they mixed absurdity, linguistic hijinks, and slapstick humour into a unique cinematic language. The literal translation of Mo lei tau is “can’t tell head from tail”, and this sense of the illogical resonated with young people in Hong Kong who were faced with the senselessness of colonialism and political transition[10]. As La Frances Hui puts it, Chow’s comedy offered a “subversive challenge to reason, logic, and convention,” allowing Cantonese speaking youth to carve out a linguistic identity distinct from both English and Mandarin dominance[10]. A Chinese Odyssey is a prime example of this genre, combining fantasy, romance, comedy, tragedy, and action into a time bending retelling of Journey to the West.

Histories of the Film’s Reception

Initial Reception and Box Office Woes

Upon its initial release, A Chinese Odyssey failed to meet expectations at the box office. Against a reported production budget of 60 million HKD it was only able to recoup 45 million HKD[11]. This return was somewhat disappointing considering the scale of its production and collaboration between the Mainland Xi’an Studios and Stepehen Chow’s Choi Sing Films. According to box office data for the period, neither Part One nor Part Two were able to break into the top five earners for Hong Kong films in 1995[1]. The film performed so poorly that Choi Sing Films was forced to declare bankruptcy, A Chinese Odyssey being its first and last production[4]. Despite its weak earnings, the film was well received by some Hong Kong critics, winning awards at the 2nd Hong Kong Film Critics Society Awards that year. Among Mainland critics however, it was listed as “one of the ten worst films of 1995” (p.190)[12][13].

A Second Life with Mainland Audiences

The film grew in popularity throughout the late 1990s and 2000s alongside the rise of internet meme culture (pp.124-125)[14]. Mainland university students who did not see the film during its initial theatrical run shared it via bootleg film discs, a common practice in the late 90s[4]. This underground sharing of media coincided with the advent of online forums in late 1997, such as BBS hosted by Tsinghua University (p.190)[13]. Online discussion boards became a nexus for discussion of A Chinese Odyssey, and over the next few years the film became one of the most talked about in China (p.190)[13]. As Li Zeng writes, “between 1998 and 2002, more than one hundred Dahua (A Chinese Odyssey) fan websites were established” (p.190)[13].

Factors contributing to the wild popularity of A Chinese Odyssey among Mainland youth are posited to be “campus life, popular culture, employment pressure during China’s transition to a market economy, and the changing relationship between individuals and Chinese society” (p.192)[13]. Of particular note is the openness in which the film approaches the theme of love, which resonated heavily with mainland fans. Historically, China has had a more traditional view of love, only becoming more in line with Western attitudes as late as the mid 90s, with the rise of Hong Kong and Taiwanese television shows like Princess Huan Zhu. Candid discussion of love was rare before then, and A Chinese Odyssey’s loose treatment of the subject was “fresh and liberating to young Chinese viewers” (pp.192-193)[13]. The film’s reception among audiences in Hong Kong, however, remained lukewarm as they were already accustomed to such free depictions of intimacy (p.193)[13].

A Chinese Odyssey attraction at Xi'an Film Studio
A Chinese Odyssey attraction at Xi'an Film Studio

Entry into the Pantheon of Timeless Classics

A Chinese Odyssey is now regarded as a timeless classic among Chinese audiences, even receiving a full theatrical rerelease of both Part One: Pandora's Box and Part Two: Cinderella in 2012, nearly twenty years after their initial run[15]. The film’s legacy continues on as it is introduced to a new, younger generation via quotable lines infiltrating common vocabulary such as the famous “ten thousand years” line, and as the original fans of the film age, marry, and share their love of the film with their children (p.128)[14]. The popular A Chinese Odyssey fan attraction at Xi’an Film Studio, where mothers and fathers take their children for fun, is a testament to the films lasting popularity among viewers of all ages[3].


Scholarly Literature Review

An Unfaithful Adaptation of Journey to the West

A cover of an early Qing period Journey to the West novel by Mei Zihe
A cover of an early Journey to the West novel illustrated by Mei Zihe

The 1995 film: A Chinese Odyssey Part One: Pandora’s Box directed by Jeffrey Lau and starring Stephen Chow is an adaptation strays from the main plot of the novel Journey to the West assumed originally to be written by Wu Cheng’en in the 1590s (p. 187)[13]. This is most apparent through the use of portraying the film’s first scene (4:40) where Monkey King/Sun Wukong is killed and his master, Longevity Monk sacrificed himself to allow Sun Wukong to be reincarnated in the distant future. This beginning of the film's plot is contrasted from the plot within Journey to the West, where Xuan Zang “asks Monkey King to go to China and give the Emperor a letter informing about his death and asking to send someone else with the same mission” (p. 220)[16]. Accompanied with the fact that the movie ends with Joker/Master Bandit (Sun Wukong) returning back to his original time (1:23:14-1:24:18) shows that the trilogy A Chinese Odyssey is an adaptation in the form of a sequel to Xuan Zang’s story. This connection is based on the Longevity Monk owning characteristics that parallels Xuan Zang, evident in the scene's (37:32) relation to the following quote from a summary of Journey to the West:

“As for the demons there is no lack of them, in fact all the demons big and small try to capture the monk and eat him. It turns out the monk Xuanzang used to be an arahant, the second disciple of Buddha in his previous life, so eating his flash can make one immortal.” (p. 197)[16].

A Chinese Odyssey is a predecessor to other forms of successful media that faithfully replicated stories from Journey to the West such as “The Monkey King Conquers the Demon (金猴降妖), which was based on the story ‘The Monkey King’s Three Battles with the Baigujing (白骨精)’ from Journey to the West” (p.9)[17] and the “1986 television series Journey to the West” (p.10)[17]. This leaves A Chinese Odyssey to be an outlier within the 1990s as an unfaithful adaptation that deviates from the plot of Journey to the West, questioning the purpose of creating this style of film adaptation because the story of Journey to the West and previous adaptations are regarded in high acclaim within Chinese culture (pp. 188+191)[13]. In addition to this, the main interpretation of the film in Zhang & Zhou's 2025 article is the following:

“Over centuries and changes in different media environments, Journey to the West has not only preserved its inherent philosophical depth but also gained a new sense of contemporaneity and relevance, achieving lasting resonance among contemporary audiences. Simultaneously, it has expanded its cultural influence and reinforced its “Thick Power,” making it an important and sustainably adaptable pillar of Chinese cultural heritage.” (p. 15)[17].

In contrast, Zeng’s 2012 article analyzes the success of A Chinese Odyssey as a film and an unfaithful adaptation of Journey to the West is to be dependent on expectations of quality to not discredit the film and a changing perception “of films with ‘baggage,’ which refers to lofty ideas, politically ‘correct’ ideologies, and moral lessons” (p.192)[13]. This sentiment is shared with Qian’s 2011 article where he expresses “the nonsense comedy not only subverts the original classic to obtain people’s laugh, but also deconstructs any heavy-hearted discussion on Hong Kong’s identity” (p.320)[18]. However, when considering critical analysis of the film, Jeffrey Lau’s romance story appears to be exploring prior expectations and values that are regarded when making an adaptation of a film. Apart from this, Zeng’s 2012 article highlights how the concept of love was portrayed in A Chinese Odyssey Part Two: Cinderella (p.193)[13] and twisting of social expectations of the story allow the unfaithful adaptation to develop its own identity outside of the original literature. Understanding that the film is an unfaithful adaptation, it is important to denote key differences between Journey to the West and A Chinese Odyssey which include portrayal of religious representation of Buddhist, Taoist and Confucianism beliefs within A Chinese Odyssey compared to Journey to the West, as well as shaping contemporary identity using Pandora’s Box.

Different Representations of Taoist, Buddhist and Confucius Beliefs

Firstly, there are multiple religious references throughout the film, A Chinese Odyssey directed by Jeffrey Lau where Taoism, Buddhism and Confucianism being some of the dominant religions in East Asia (pp. 366-367)[19]. With the use of comedy within the film (21:00-21:45), the light hearted representation of religion provides a positive perspective on their lifestyle and values. To provide an example, the Buddhist representation within the film includes the belief in reincarnation and the selfless sacrifice of Xuan Zang/Longevity Monk to allow Sun Wukong to reincarnate (4:30 - 4:40). However, it is important to denote that this scene requires context of Journey to the West:

“The Jade Emperor whom Monkey King defies stands not only for Taoism. His image stands even more for political power, for the whole social and structural hierarchy cemented for centuries by Confucianism or rather Confucians in the service of the System.” (pp. 207-208)[16]

The previous quote is portrayed within the adaptation of the film and highlight certain aspects of the movie that challenge traditional values. One example is the scene that Bak Jing-Jing abandoned her “good marriage with Chilean Immortal” (55:44 - 55:55) in pursuit of love with the Monkey King leading to many fights with her detached older sister (26:32-26:53). Abandoning filial piety is criticism of the traditional values upheld by Confucian beliefs (p.367)[19] because it impedes an individual’s perception of happiness similarly to the Journey to the West analogy of when Xuan Zang pities a wood cutter “who is afraid of death not because his own life is dear to him, but because he is the only supporter of his widowed mother” (p. 220)[16]. Ma’am 30 is not Bak Jing-Jing’s mother, however Bak Jing-Jing always makes sacrifices for childish dreams to live a happy life with Sun Wukong, even after an initial 3 years of no contact and ending up lonely in the same location 500 years later (33:00 - 33:25). This one-sided love that lead Bak Jing-Jing to suicide in A Chinese Odyssey Part One: Pandora’s box (1:06:30-1:07:30) expresses the challenges of defiance to traditional values such as Bak Jing-Jing being disconnected from her sister (26:48) and leaving her happy marriage in an arguably unsuccessful pursuit of personal fulfillment. Arguably, this is a neutral portrayal of upholding traditional beliefs through Confucianism beliefs by showing both positive and negative aspects of divorcing in the name of love.

Scroll telling Sun Wukong the path to enlightenment, scene from A Chinese Odyssey Part One: Pandora's Box (1:11:13)

Apart from this, an example of Buddhism in a positive light is at 44:00-44:20 minutes of the film, where Buddha is portrayed as the saviour of the village (even if temporary) by trapping 2 demons in magic bags that were threatening the village. Buddhist representation in the original material, Journey to the West highlights enlightenment, karma and a saviour Buddhist monk (pp. 209-210)[16], quite similar to the film to the representation of Buddhist monks within A Chinese Odyssey Part One: Pandora's Box which include Sun Wukong dealing with karma and enlightenment (1:11:37 - 1:12:39). Furthermore, Jeffrey Lau blends Buddhist and Taoist representation of religions through the theme of reincarnation as the Taoist representation (1:11:03-1:12:10) using the scroll as a guide to ascension (p. 212)[16]. This informs the viewer that for Sun Wukong to transform to his immortal form depends on performing a ritual that requires three birthmarks provided by a higher power (Spider Web Immortal) (p.367)[19]. However, this portrayal of Taoist beliefs conflicts with the Journey to the West’s negative portrayal of “Taoist saints and spirits are shown inferior to the Buddhist saints” (p. 205)[16] while A Chinese Odyssey Part One: Pandora’s Box is neutral and makes no reference to Taoist saints. Overall, the religious representation within the film usually complement one another with Buddhism holding a more prominent and positive impact to the story, but this does not discredit the impact of Taoism and Confucianism beliefs to teach the moral struggles of upholding our traditional beliefs.

Pandora’s Box Differentiating an Identity

Qian’s 2011 article makes reference of how Pandora’s Box in the A Chinese Odyssey Part Two: Cinderella, Sun Wukong interacts with his past self (p. 310)[18] was used to highlight how identity was influenced by time and its connection with “the Joint Declaration of 1984 on the future of Hong Kong” (p. 309)[18]. However, A Chinese Odyssey Part One: Pandora’s Box shares similar traits when the Master Bandit drastically changed his appearance to signify that he is dissatisfied with both his life as the immortal Sun Wukong and as the human Master Bandit as they have both committed immoral actions (31:10-32:10). This provides Sun Wukong’s identity to be in a transformative period where there is liberty to choose which path to go, however through moral guidance and proposed negative outcomes of not becoming Sun Wukong, insinuates the moral of the story of A Chinese Odyssey Part One: Pandora’s Box to be more about responsibility and acceptance of his previous identity (p. 312)[18] compared to A Chinese Odyssey Part Two: Cinderella about decentering one’s identity due to the experiences he had in the future (time period of Part One) where “In this sense, it is simultaneously the past that is preserved and the present that passes” (p. 313)[18]. The use of Pandora’s Box is claimed to be more present in A Chinese Odyssey Part Two: Cinderella as Qian’s 2011 article highlights that each use of Pandora's Box indicates “this time the same does not return, the opposite does not return, what returns is the difference, the power of differentiation” (p. 316)[18]. How this relates to A Chinese Odyssey Part One: Pandora’s Box is through the identification that using Pandora’s Box, which is a Greek mythology that is not highlighted to be present in other adaptations of Journey to the West, is an allegory of what can be understood through the differentiation of identities across time periods. This would develop the narrative of the Part One of A Chinese Odyssey of including but not limited to questioning their societal values as a whole, which discussing questions about the value in love compared to societal obligation influencing one’s happiness as shown with Sun Wukong using Pandora’s Box to save Bak Jing-Jing (1:16:30-1:22:00) or how religious beliefs can be upheld together to develop a narrative even when from different religions (by using Taoism, Confucianism and Buddhism). A Chinese Odyssey Part Two: Cinderella evaluates “Hong Kong [as] a hybrid society composed of multiple ethnicities, languages, and value systems, it is a hodgepodge of ingredients, in much the same way as the nonsensical combination of words that cannot completely blend together to create a homogeneous whole” (p. 321)[18]. Qian’s 2011 article does not mention identity within Hong Kong to be a prominent theme for analysis in A Chinese Odyssey Part One: Pandora’s Box, however this adaptation of Journey to the West displays how using unfaithful adaptations of literature can develop discourse of new themes by analyzing details within the differences between literature and media adaptation.

Comparative Analysis

The film we chose for comparison is Come Drink With Me (1966) by King Hu. In this film, a young woman (Golden Swallow) goes on a journey to free her brother from captivity, meeting a man (Drunken Cat) along the way who saves her, and later becomes the story’s main hero. Despite the two films being released nearly 30 years apart, both films share similar themes and narratives as they are inspired by historical Chinese literature and opera. By comparing these two films, we can observe how Hong Kong cinema, while experiencing multiple socio-political situations, has continued to draw on traditional Chinese culture and aesthetics to address its contemporary concerns, whether through serious or comedic tones.  

Similarities

  • The first similarity between the films is that they are both adaptations from classical Chinese texts. Come Drink With Me (1966), is a wuxia film and is inspired by traditional wuxia literature[20]. Wuxia is a genre of Chinese fiction about martial artists in ancient China, which often revolve around themes of honor, justice and martial arts[21]. These themes are especially evident in the main characters of Come Drink With Me (1966), such as Golden Swallow, who is a heroic female swordsman, that goes on a mission to save her brother from a group of evil bandits. A character she meets along the way called Drunken Cat, also possesses impressive martial arts skills and like her, he uses these skills to achieve justice and for the betterment of society as well. Similarly A Chinese Odyssey (1995) is also a reinterpretation of historic Chinese literature and draws from the novel Journey To The West by Wu Cheng’en. The film also has an emphasis martial arts (which is evident in its combat scenes), but it tells its story in a humorous way using the mo le tau genre[22]. Though the styles of the two films differ, both films draw inspiration from traditional literary texts and explore similar themes such as the transformation, combat, and heroism.
  • Jing Jing cries with her sleeve covering her face, an exaggerated gesture that could be inspired by traditional Chinese opera acting techniques.
    While Come Drink With Me (1966) appears to be more directly inspired by Chinese opera, particularly through its wuxia storyline and genre, both films seem to draw from Chinese opera traditions whether intentionally or not. First, the story line of both films take place in ancient times, using traditional Chinese costumes which appear to be inspired by operatic aesthetics. Additionally, a key influence from Chinese opera appears to be in the characters of the films, who resemble common archetypes in Beijing opera. These archetypes typically include four main roles: sheng (male roles), dan (female roles), jing (painted face roles) and chou (comic roles)[23] . In Come Drink With Me (1966), Golden Swallow can be identified as a dan, specially a daomadan (which is a female warrior character). The Drunken Cat fits the sheng (a male role), specifically a wusheng for his skillful martial arts (though this characterization is mostly later on in the film). The main villain of the movie Jade-Faced Tiger represents the a jing, due to his painted face, striking looks and high social status. In A Chinese Odyssey (1995), the Monkey King (also known as the joker) could be the chou role (who is known for his humour). In addition to character types, both films also use acting reminiscent of Chinese opera which is often exaggerated [24]. This is especially evident in A Chinese Odyssey (1995) in the scene where Jing Jing cries with her sleeve covering her face (1:01:20). This scene is very exaggerated and accompanied by soft traditional Chinese instruments playing in the background, which makes this scene particularly stand out as reminiscent of traditional Chinese opera. Similarly, in Come Drink With Me (1966) the stylized fighting scenes, particularly in the fighting scene which takes place in the Buddhist temple, Golden Swallow uses choreographed fighting and elegant movements opposed to realistic combat (42:00-43:50). The use of rhythmic drum beating in the background further make this scene stand out as reminiscent of Chinese opera as well [24].
Come drink scene 1
This clip shows the scene in Come Drink With Me (1966), where Golden Swallow enters the bar disguised as a male warrior. For the audience, it is obvious that she is a female. However, in the movie, the characters are unaware of her true identity.
  • Another similarity between the two films is the use of disguise and concealment, to explore themes of transformation and hidden potential. In Come Drink With Me (1966), Golden Swallow enters a bar disguised as a male warrior (8:29). Although she is underestimated for her appearance (even with her male disguise), she beats all of the men in the room (17:20-19:30). Similarly, the character Drunken Cat pretends to be a useless drunk who is incapable of fighting, but reveals himself to be a skilled fighter later on in the film when he is truly needed. In A Chinese Odyssey (1995), the Monkey King parallels the character of a Drunken Cat by being disguised as a master of bandits (although he is unaware of his true identity himself). Similarly, his real identity is only revealed when he is needed to save the day. Other characters are also constantly disguised in the film as well such as the master's companion (Assistant Master) who is later revealed to be a reincarnation Pigsy (53:12), or Grandpa Buddha who magically transforms himself into a bowl of grapes (35:21, 35:39). Additionally, the two sisters who are portrayed beautifully but transform into grotesque monsters; a spider woman and bone demon, also are examples of deceptive appearances as well. These examples of concealment and transformation mainly are used to create create humour and surprise for viewers, which often show that the characters are much stronger than they appear. Beyond just entertainment, these forms of hidden identities also provide a deeper message for viewers to not judge a book by its cover and to recognize hidden potential.

Differences

  • The most significant difference between the two films is their historical context of production. Come Drink With Me (1966) was made during the cultural cold war and colonial era. At the time, wuxia films were used to promote nationalism, and so the use of heroes and morals may have been used not primarily for entertainment but to unite citizens during a time of cultural divide [25]. On the other hand, A Chinese Odyssey (1995) was produced right before Hong Kong's handover to China in 1997. During this time, most citizens experience anxieties about the future, and so this fantastical movie which also uses comedy likely provided a sense of escapism for viewers during a time of political uncertainty[26].
2
A fighting scene from Come Drink With Me (1966). It features natural lighting and elegant choreography that emphasizes Golden Swallow's martial arts skills.
combat scene
A surreal fighting scene from A Chinese Odyssey (1995). The red lighting and exaggerated visuals depict the intense battle taking place inside the Beast Kings body.
  • Another obvious difference between the two films is their genre and visual style. While both films share elements of Chinese opera and martial arts, their styles are very different. Come Drink With Me (1966) is a serious wuxia drama that emphasizes elegant martial arts choreography, focusing graceful, controlled movements, and simple, naturalistic cinematography. Even during intense fighting scenes, such as when Golden Swallow is ambushed by multiple men inside the Buddhist temple (42:00-43:50), her actions are very composed and never appear chaotic. On the other hand, A Chinese Odyssey (1995) is a fantasy movie and so its visual style is dramatically different. To achieve its fantastical and mystical appearance, the film uses exaggerated visual effects, such as colourful lighting, thick smoke, and fantastical props and characters. These techniques are especially notable in the films fighting scenes. In one scene in particular, the spider woman enters the Bull King's body to fight him from within (1:15:39-1:16:02). In this scene, red lighting, smoke and props are used to represent his internal organs. The rapid and chaotic camera movements, as well as dutch angle shots, make the fights appear surreal and chaotic, instead of displaying their actual fighting skills like wuxia films do. While the difference in stylistic choices between the two films may partly reflect technological advancements in the film industry over 30 years, they are also likely different due to the demands of each genre of film. Additionally, the different genres between the two films likely reflect more than just the personal styles of the directors but also the shifts that occurred in Hong Kong film industry from films that emphasized Chinese identity and nationalist sentiments in the 1960s to a more humorous and experimental filmmaking in the 1990s. where directors had more individual autonomy and control [26].
  • Lastly, the two films engage with Buddhism in very different ways. While both reference Buddhist ideologies such as karma, where justice is ultimately serve to the antagonists in each film, the films portray Buddhism through very different lenses. For instance in A Chinese Odyssey (1995),  Buddhist ideologies are more central to the storyline, such as the reincarnation of the Monkey King and his journey to enlightenment. This is further reflected through the self sacrifice of the Longevity Monk (4:30 - 4:40), or when Grandpa Buddha attempts to rescue the bandit village from evil powers (as referenced in the scholarly literature review section). Such an act symbolizes karma, and is an example of how Buddhism is portrayed as a positive and guiding force in the film, similar to how it was portrayed in the original Journey to the West novel (pp. 209-210)[16]. In contrast, Come Drink With Me (1966), presents a more critical depiction of buddhist institutions. The Buddhist temple in the film for example, is taken over by bandits with the help of a corrupt Abbot (Drunken Cats brother). However, these negative depictions in the film appear to critique Buddhist institutions rather than the religion itself. For example, Drunken Cat, a Shaolin master defeats his brother in the end through his supernatural powers, which he was able to do through the Buddhist concepts of Iddhi, which refers to achieving inner strength and power through meditation[27].


Overall, while both films draw inspiration from Chinese opera and martial arts, they are significantly different in genre and style. These differences can be attributed to their distinct historical contexts as well as evolving technology and styles which may have been popular during their respective eras. while Come Drink With Me (1966) uses seriousness and nationalist sentiments through Chinese aesthetics to promote a strong sense of Chinese identity during the cultural cold war and colonial era, A Chinese Odyssey (1995) uses comedy and surrealism to offer an escape during a time of political uncertainty before Hong Kong's 1997 handover. Overall, this comparison shows Hong Kong filmmakers have adapted Chinese cultural elements to respond to political situations, both for mainland and Chinese diasporic audiences in different ways.

Alternative Interpretation

Scene 1
This is a clip from the first scene of the movie. It features absurd features such as the canted tilt of the camera, red/blue lighting and smoke creating a sense of otherworldliness.

Scene 1: Absurdity and Spirituality in the Opening Scene (00:49-4:37)

The first scene we chose to analyze is the opening scene of A Chinese Odyssey Part One: Pandora’s Box (1995). This scene establishes the film's central theme we have discussed in this paper, which is enlightenment through absurdity. In this scene, the Goddess Guayin orders the Monkey King's death, but the the Longevity Monk sacrifices himself instead, allowing the Monkey King to be reincarnated. This scene is a perfect example of the absurd cinematography in this film, through both its tone and its mise-en-scène. First, the red and blue lighting, along with drifting smoke, gives the viewer a feeling of otherworldliness, which suggests that mystical or magical beings may be present in the scene. This scene also uses extreme close ups Goddess Guanyin (3:37,3:44), as well as shot-reverse-shots, which emphasizes her divine power compared to the Monkey King who is much smaller and less powerful than her. Additionally, the scene uses dutch angle shots multiple times, which disorients the viewer. We feel that this was done not only to create feelings of unease or danger but to make the viewer feel as if they were observing this fight and hiding as they are in the presence of very powerful and god-like beings. While the tone of this scene is quite humorous, such as when the Longevity Monk scolds the Monkey King for throwing the Pandora's box (away as it could pollute the environment or hurt children) (1:38-2:20) or when the Monkey King complains that the Longevity Monk is annoying like fly (2:30-3:28), it still centres on duty, reincarnation and sacrifice. This scene foreshadows the Monkey Kings reincarnation as the Joker or Master Bandit later in the movie, and thus his eventual spiritual awakening at the end of the film as well. Overall, this scene is a perfect example of how Lau uses absurdity both visually and through comedy to tell a story of enlightenment through religious philosophies.

Scene 2: Enlightening Master Bandit Through Fire (21:21-22:00)

Scene 2
This is the scene where Master Bandits crotch is accidentally lit on fire. The Assistant Master puts the fire out by dramatically stomping on him.

At face value, a trivial comedy scene from A Chinese Odyssey Part One: Pandora’s Box (21:21-22:00), the scene depicts Joker’s troop of bandits frantically trying to put out a fire with no water in sight, ultimately resulting in Assistant Master repeatedly stomping on Master Bandit’s crotch to (ineffectively) extinguish the fire. Beginning with a high-angle, medium close-up shot of Master Bandit, the shot selection emphasizes his powerlessness in the situation. This fire and subsequent genital stamping is a symbolic representation of the Buddhist belief of karma, a sort of punishment for past misdeeds, as Master Bandit has not lived up to his destiny as Sun Wukong, to Longevity Monk’s expectations for him, the expectations that Longevity Monk had when he sacrificed his life to reincarnate Sun Wukong (4:00-4:20). As punishment for straying from his Buddhist path and instead pursuing love, Master Bandit’s sexual organs are burned and stamped on, a symbolic damnation of his sexual desires and of his reluctance to take up his rightful duty as Buddha’s messenger, of returning to his Journey to the West. The next interesting shot (21:27), is a low angle, long shot of Assistant Master, which signifies Assistant Master’s superiority in the situation and calls attention to the temporary reversal of the power dynamic between the two. This contributes to our interpretation of this scene as a Buddhist reference to karma, as it provides an opportunity for Assistant Master to be celebrated as a hero, a karmic reward for his loyalty to Master Bandit.The last shot of the scene (21:50-22:00), an eye-level, medium close-up shot is maintained as the camera tilts upward to show Master Bandit rising from his lowered status, the fire now extinguished completely. This scene leads to the curing of Master Bandit’s previous ailments, such as his  “blindness” and inability to use his legs. The act of stomping on Master Bandit’s crotch, the literal and symbolic conduit of his romantic desire (and a distraction from his destiny) results in him “waking up”, he takes one more step closer towards his enlightenment (21:41).

Conclusion

In conclusion, this wiki page has discussed the film A Chinese Odyssey Part One: Pandora’s Box (1995) by analyzing how it uses absurdity to tell a story of enlightenment. While upon its initial release the film did not receive much praise with mainlanders, the film grew in popularity through the late 1990s and 2000s, mainly due to pop culture, comedic style and depth the film provided during a time of uncertainty.

In our opinion, the movie, while unconventional and at times disorienting, balances comedy, martial arts and religious philosophy very well. This may not appeal to viewers who enjoy serious and straight forward story lines portrayed in Journey to the West. However, this film may be very enjoyable for viewers that value humour, ancient mythology and multiple genres of cinema, accompanied with the potential to teach viewers moral religious lessons along the way. Overall, this movie shows how absurd comedy can provide religious philosophies and an escape for viewers, especially in times of social and political uncertainty.

References

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  5. ↑ Fam, Jonathan (February 26 2021). "Veteran Journo Claims Karen Mok Was The Only Woman Stephen Chow Ever Thought Of Marrying". Today Online. Retrieved June 13 2025. Check date values in: |access-date=, |date= (help)
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  10. ↑ 10.0 10.1 Hui, La Francis (August 16 2012). "Nonsense Made Sense: The Downside Up World of Stephen Chow". Asian American Writers' Workshop. Retrieved June 13 2025. Check date values in: |access-date=, |date= (help)
  11. ↑ Zhang, Rui (April 13 2017). "Stephen Chow's classic re-released in extended version". China.org.cn. Retrieved June 13 2025. Check date values in: |access-date=, |date= (help)
  12. ↑ "The list of winners of the 1995 Hong Kong Film Critics Association Awards has been announced". Hong Kong Film Critics Society. 1995. Retrieved June 13 2025. Check date values in: |access-date= (help)
  13. ↑ 13.00 13.01 13.02 13.03 13.04 13.05 13.06 13.07 13.08 13.09 13.10 Zeng, Li (December 16 2012). "Adaptation as an Open Process: Dahua Fandom and the Reception of A Chinese Odyssey". Adaptation. 6 (2): 187–201 – via Open Athens. Check date values in: |date= (help)
  14. ↑ 14.0 14.1 Ming-tak Chew, Matthew (June 10 2020). "Discovering the digital Stephen Chow: The transborder influence of Chow's films on the Chinese Internet in the 2010s". Global Media and China. Volume 5: pp.124-133 – via Sage Journals. Check date values in: |date= (help)CS1 maint: extra text (link)
  15. ↑ "Nostalgic rerelease of Stephen Chow's classic". China.org.cn. November 3 2014. Retrieved June 13 2025. Check date values in: |access-date=, |date= (help)
  16. ↑ 16.0 16.1 16.2 16.3 16.4 16.5 16.6 16.7 Sarakaeva, Elina (September 2019). "Religious interretations of Wu Chengen's Novel «Journey to the west»". Journal of Frontier Studies. 3: 194–230 – via Frontier Abroad.
  17. ↑ 17.0 17.1 17.2 Zhang, Jijiao; Zhou, Zixiang (2025). "Thick Power: the adaptations of Journey to the West and the interaction between the Chinese youth and Black Myth: Wukong from the perspective of Cultural Empowerment Theory". International Journal of Anthropology and Ethnology. 9 (6): 1–31 – via Springer Open.
  18. ↑ 18.0 18.1 18.2 18.3 18.4 18.5 18.6 Qian, Kun (March 2011). "Pandora's Box: Time-Image in A Chinese Odyssey and the Becoming of Chinese Cinema". Asian Cinema. 22 (1): 308–328 – via Intellect Discover.
  19. ↑ 19.0 19.1 19.2 Reader, Ian (March 2015). "Religions of East Asia". International Encyclopedia of the Social & Behavioral Sciences (Second Edition). 6: 366–372 – via Elsevier Science Direct.
  20. ↑ Polan, Dana (February 2025). "Come Drink with Me". Sense of Cinema. Retrieved June 13th 2025. Check date values in: |access-date= (help)
  21. ↑ "Wuxia". TV Tropes. Retrieved June 13th 2025. Check date values in: |access-date= (help)
  22. ↑ Gilman, Sean (August 12th 2019). "The Wacky Existentialism of Jeffrey Lau's A Chinese Odyssey". MUBI. Check date values in: |date= (help)
  23. ↑ "Roles in Beijing Opera". My Beijing China. Retrieved June 13th 2025. Check date values in: |access-date= (help)
  24. ↑ 24.0 24.1 "Special section on Chinese opera : CONVENTIONS OF CHINESE OPERA". Taiwan Today. April 1st 1958. Retrieved June 13th 2025. Check date values in: |access-date=, |date= (help)
  25. ↑ Choi, Emilie Sin-yi (March 25th 2024). "Investigating Hong Kong Alternative Cinema: The Formation of Cinephilias in the late 1960s". M/m. Retrieved June 13th 2025. Check date values in: |access-date=, |date= (help)
  26. ↑ 26.0 26.1 Morton, Robert C (June 11th 2024). "The Hong Kong New Wave: A Cinematic Revolution (1979-1990s)". Robert C Morton. Retrieved June 13th 2025. Check date values in: |access-date=, |date= (help)
  27. ↑ "Iddhi". Wikipedia. Retrieved June 13th 2025. Check date values in: |access-date= (help)
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