Audiences on the lookout for fresh talent in Hong Kong cinema haven’t had it easy in the past year, with few young actors headlining major pictures and opportunities especially limited for actresses alongside mainland talent in co-productions. So it comes as some relief to see writer-director Adam Wong nurturing newbies so prominently with The Way We Dance, a happily hyper pop flick that’s eager to please.
Leading the picture is Cherry Ngan, playing Fleur, a new entrant to university who’s obsessed with hip-hop dance. During orientation week, she joins the uni’s BombA crew after smoking group head Dave (Lokman Yeung) with her dance skills. BombA always comes second to the older Rooftoppers crew, and there’s a new competition to train for.
But BombA’s rehearsals fall apart when team member Rebecca (Janice Fan) wants to hog the limelight and possibly spoil Fleur’s budding romance with Dave. Not impressed, Fleur gives BombA the flick and hangs out instead with the Tai Chi Club, run by ever so unhip Alan (Babyjohn Choi). As Fleur tags along with Alan and his tai chi community-visit scheme, she picks up ideas that could come in handy should she choose to return to BombA and hit the stage again.
Combining youth romance and an exuberant all-ages spin on gang rivalry, The Way We Dance easily entertains despite having the slightest of script outlines. The competition angle is merely a nominal one to move the story forward; the emphasis instead lies in well-intentioned themes of striving for personal goals, triumphing over adversity and just doing the best you can. It’s basic, positive stuff – simple for mass appeal and a breeze, too, for director Wong to get creative with. Once the dance starts up, Wong taps the available choreography and athleticism to spectacular effect, not least when the Rooftoppers are introduced with a frenzy of beatboxing, b-boying and parkour in an industrial building.
Choreography by Shing Mak regularly flows and astounds, though a few of the flashiest moves could have been held back for a more exhilarating finale, and it’s rare for Hong Kong cinema to deliver displays like these, let alone an exploration of a dance scene.
Elsewhere, Wong’s direction is light and playful – not unexpected given his earlier feature films – and he delights with neat flourishes, from a flash of implausible magic to shout-outs for supporters of Hong Kong movies. Wong also keys into Hong Kong cinema’s current push for a stronger local sensibility by making smart use of locations and heritage spots, as well as employing themes like facing hardship that can resonate amid the city’s social and economic worries.
Among the cast, Cherry Ngan is clearly capable as a dancer and bright and relaxed in her first leading role, albeit one seldom tasked with demanding drama. Stage actor Babyjohn Choi is meanwhile fabulously nerdy and likeable as Alan and convincing as a tai chi whizz, while Janice Fan impresses as her character becomes increasingly interesting.
US-based breaker Tommy Guns Ly, playing Rooftopper head Stormy, also stands out when he reinforces the film’s themes in an especially striking way, and a few established film figures like Paul Wong appear in the sidelines. Things are more hit and miss among the rest of the dancers’ acting skills, but The Way We Dance’s success in highlighting fresh talent and delving into an uncommon genre should nonetheless be applauded. With smaller locally focused films set to receive a boost in investment through several initiatives announced this March, more work like this is needed to bring up a new generation of home-grown screen talent and foster a more daring array of pictures.
Tim Youngs