The new exhibition "Undercover Underworld" at Tai Kwun has attracted a large number of visitors with its unique theme and design. Inside the duplex exhibition hall of Tai Kwun, audiences will step into the world of undercover agents from the perspective of actors, immersing themselves in classic Hong Kong undercover movie scenes recreated with cinematic-level production, and experiencing the complex inner turmoil of living with an "undercover" identity.
Hong Kong cinema gained acclaim in Chinese-speaking regions and even globally during the 1980s for its distinctive style, efficient production, and international vision, earning the title of the "Hollywood of the East." Renowned film historian and theorist David Bordwell once described Hong Kong popular cinema from the 1970s to the 1990s as "All Too Extravagant, Too Gratuitously Wild" in his 2000 book Planet Hong Kong: Popular Cinema And The Art of Entertainment—a characterization that feels especially apt for the "undercover movie" genre. Undercover agents, often caught in moral dilemmas and conflicts of loyalty, have been central figures in Hong Kong crime films over the past half-century.
"If black and white symbolize good and evil, then cinema is a popular stage on which their confrontation plays out. Caught between these two forces, we also find some of the movies' most complex and riveting protagonists, with the undercover agent the most fascinating of all," Tai Kwun's official website says. Starting from the identity of the "undercover," filmmakers have continuously explored themes of "black and white, good and evil, justice and villainy," blending identity anxiety, loyalty paradoxes, survival struggles, and the essence of humanity to create outstanding works interwoven with gunfire and tears.
The success of Hong Kong's undercover movie genre fully showcases the creative ingenuity honed under limited resources. Countless classic lines and scenes have become unforgettable "Hong Kong-style memories" for generations of audiences. This exhibition unfolds across ten thematic scenes, complemented by script drafts and interview clips with directors, actors, and music composers, allowing audiences to follow the exhibition's narrative and gradually immerse themselves in the role-playing world of the "undercover."
The exhibition chronologically reviews the over-40-year development trajectory of Hong Kong undercover movies, recreating and paying tribute to key scenes from eight classic films: from pioneer Alex Cheung's Man on the Brink (1981), to Ringo Lam's City on Fire (1987), John Woo's A Better Tomorrow II (1987) and Hard Boiled (1992) in the 1980s and 1990s, to Clarence Fok's Century of the Dragon (1999), followed by Andrew Lau and Alan Mak's Infernal Affairs (2002), Derek Yee's Protege (2007), and Benny Chan's The White Storm (2013) in the post-millennium era.
Immersive experiences
In City on Fire, the intense shootout scene left an indelible impression on countless fans. In this exhibition, visitors can experience a realistic gunfight in Scene 4, with bullet holes and specially crafted smoke effects, accompanied by surround sound, making them feel as if they are in the midst of a fierce battle. In Scene 7, visitors can stand beside an overturned dining table, frozen amid splashing tea, reliving the high-octane chase and climactic fight between police and gangsters in Hard Boiled.
In Scene 6, visitors will have the chance to step into the counseling room from Infernal Affairs, where Chan Wing-yan (Tony Leung) and psychiatrist Dr. Lee Sum-yee (Kelly Chen) conduct their sessions. Amid the exquisitely detailed set, they can feel the complexity and unease of an undercover agent's psychological struggle. Notably, the ten scenes are not only tightly aligned with the "undercover" theme but also meticulously crafted—even the spots at the bottom of the hanging birdcage prop were painted stroke by stroke—demonstrating the curatorial team's dedication and professionalism.
Unique spiritual essence of undercover films
"In Man on the Brink (1981), the character Ah Chiu fascinated me the most," said co-curator and director Sunny Chan during an interview. "Back then, films weren't burdened by heavy box-office pressure, so screenwriters could boldly create a young policeman who, while undercover, genuinely slips into the abyss of darkness." This portrayal of the complexity of human nature made him feel the sincerity of earlier filmmakers.
The exhibition also aims to provoke multi-layered reflections on the "undercover" identity. Chan particularly focuses on the group of "police undercovers": "Their core is good, yet they must infiltrate the heart of evil. When they spend days and nights in darkness with their 'enemies,' even forming bonds, the sense of tearing apart and guilt is striking."
This is precisely the eternal tragedy of Andy Lau's character in Infernal Affairs: a soul yearning to turn from black to white, ultimately consumed by the abyss of lies he weaves. "Every undercover, no matter their starting point, ultimately longs to 'be a good man again.'"
Chan emphasized that no matter the identity crises or life-and-death dangers undercover agents face, the exhibition ultimately conveys a belief as piercing as dawn through darkness: "Just like the English title of John Woo's A Better Tomorrow—after enduring countless hardships, we must still look to tomorrow and strive for better possibilities." The unyielding hope in dire circumstances forms the unique spiritual essence of Hong Kong undercover films. In the exhibition's tenth scene, visitors pause at the phone booth, mimicking Leslie Cheung's iconic pose from A Better Tomorrow to snap commemorative photos.
Rare film artifacts on display
"Hong Kong is a tiny place, yet at its peak, its film output ranked third globally, behind only Hollywood and Bollywood," Chan noted. In a highly commercialized and fiercely competitive environment, Hong Kong filmmakers honed their ability to distill intense dramatic conflicts. "Undercover roles inherently carry enormous contradictions—the tearing apart of dual identities, the torment of loyalty and betrayal—like a natural goldmine for drama." Screenwriters mastered this, and audiences were enthralled, with car chases and shootouts further cementing the golden age of Hong Kong undercover films.
Yet in recent years, the once-dominant undercover figures have grown scarce in local productions.
"Action-packed undercover films require substantial budgets for chases, explosions, and shootouts. When investments tighten, creators naturally shift to lower-budget, less action-driven themes," Chan noted.
The market's fluctuations directly influence the genre's rise and fall. "If overall box-office performance rebounds and investor confidence strengthens," he added, "this captivating genre will undoubtedly revive."
(Source: Wen Wei Po; Journalist: Chen Yi; English Editor: Darius)
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