It’s fair to say that very few people would have predicted a relatively low-key drama to go on to become the most successful Hong Kong film of all time. Of course, current box-office champion Dayo Wong is present and it might have been reasonable to expect this to do well locally, but ‘The Last Dance’ had a longevity that pushed it beyond ‘A Guilty Conscience’, the previous champion.
Ex-wedding planner Dominic (Wong) is given the task of looking after a local funeral business. Steeped in tradition, the business has loyal support, but the chief Taoist priest who performs the ceremonies is dubious about Dominic’s interest. The relationship continues to be strained as tradition comes up against modernity while pressures away from work press down on both men.
That a drama like ‘The Last Dance’ is the most successful film of all time in Hong Kong says something about the appetite for local issues and traditions. Naturally, the big Hollywood blockbusters that come in bring in millions of dollars, but it’s clear that there is a desire for stories that reflect the people of Hong Kong. That’s not to say this is a newfound passion but it is reassuring for film-makers who cannot compete with opulently budgeted features from abroad. Whether or not the distribution and advertising is there to support these efforts is, of course, a different matter.
‘The Last Dance’ is an opportunity for two popular Hong Kong comedians to show off their acting chops. Michael Hui and Dayo Wong have done so in past productions with Hui in particular being well used in ‘serious’ cinema recently, but ‘The Last Dance’ might be both men at the top of their game. Both are given characters who are flawed, awkward and very human, allowing both to stretch themselves, an opportunity they do not waste. The scenes between the two as a friendship forms are especially strong and director Anselm Chan doesn’t rush their eventual understanding.
While Hui and Wong will gain many plaudits, ‘The Last Dance’ doesn’t waste a single performer. Michelle Wai is exceptional in a role that is not necessarily sympathetic, but allows a vulnerability to break through her tough exterior. Meanwhile, veteran Paul Chun gets a solid supporting role as the outgoing funeral director.
Though ‘The Last Dance’ is focused on Hong Kong and its customs, the conflict between tradition and modernity, family and personal freedom, is universal. It doesn’t always draw the viewer in the way that might be expected, yet it eventually develops into an intriguing drama where a fusion of exceptional acting and thoughtful direction ensure its success.
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