Overheard 3 (竊聽風雲 3) is a 2014 film written and directed by Alan Mak, 麥兆輝 and Felix Chong, 莊文強. This is the sequel to the film Overheard 1&2, the same actors play different roles with a different story, but the key elements (eavesdrop, etc.) of the previous two films are kept. Because this film is a cooperation project of Hong Kong and mainland film industries, it use the mainland artists Zhou Xun, 周迅 and Huang Lei, 黃磊. The story is about the land developments in Hong Kong New Territories and it assumes that government will abolish the Small House Policy in the near future. Unlike the pervious two films using the allegory, in Overheard 3, Mak and Chong more directly arguing Hong Kong’s property and social issues.
Review
Culture identities
This is a feature film which describes the relationship between human and the land in the New Territories. There are two types of villagers in this film, one is urbanized, and another one is relatively conservative. The four brothers: 陸金強 (Sean Lau, 劉青雲), 陸永富 (Alex Fong, 方中信), 陸建波 (Gordon Lam, 林家棟), and 陸永泉(Dominic Lam, 林家華) both belong to the first type; they get rich by buying and selling the lands, they have luxury lives (陸金強 take helicopter to Macau) but have low education level. The culture identity of them as the “rural rich (土豪)”. They betray other villagers for their self interests.
Alternatively, the widow 阮月華 (Zhou Xun, 周迅) and her neighbors are more conservative and have the original villager (圍村人)’s value. She work hard (has multiple jobs) and raise her child by herself alone. She told to 阿祖 (Daniel Wu, 吳彥袓) that “土地不是用來賣來賣去，而是用來耕種。”, which articulated that the lands should be use for cultivation rather than business. And, the scene of 月華 and her neighbors rescues 阿祖 together in the trash car yard shows the villager’s original spirit is helping each other.
In another hand, the great-grandfather 陸瀚濤 (Kenneth Tsang, 曾江) showing the traditional patriarchy culture in the Hong Kong New Territories, for example, he feel guilty when he stand in the ancestral shrine (祠堂) facing his ancestors, because he does not have a son to inherit his land and power. But he feels happy for the new birth (male) in the village. Indeed, 陸瀚濤 stopped his daughter 陸永瑜 (Michelle Ye, 葉旋)’s love relationship with 羅永就 (Louis Koo, 古天樂 ) who does not has the same surname “陸” and as the outsider (外姓人).
Collective memories
Moreover, the scene of the firstborn son registration (點燈) in the ancestral shrine (祠堂) and hand out the roast-pig meat to the male villager (太公分豬肉) both introducing the traditional culture and collective memories of the New Territories.
At the end, it use the old view of New Territories, the childhood of the main characters and the theme song (rerecord as “共你痴痴愛在” by Joey Yung, 容袓兒) of the 1980’s TV drama “This Land Is Mine, 風雲” (also about the development of New Territories) to memorize and restate how the land developments changing the New Territories and the villagers. Therefore, the elder audiences (born before 1970s) would have more feelings after watching.
Conclusion
Overall, this film is reflecting Hong Kong’s nowadays situation; the flat, the rent is expensive, people who have the land represent he/she has the money and the power; the property hegemony is serious and property developers monopolized the land of Hong Kong. Hong Kong become more and more materialistic which distance the relationship between each other, human nature being explored when they have conflicts of interest. Although, this film is the third part of the “Overheard” series, it more focusing on people’s relationship under the developments of the land rather than the elements of eavesdrop.
Student name: Fung Wan In
Student number:10490757/21426074
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