In Wong Kar Wai’s Chungking Express (重慶森林), actors Faye Wong and Tony Leung often show up in an outdoor wet market in Central (中環) where fresh meat, vegetables, flowers, housewares, and even goldfish can be found, and so as outdoor street eateries known as dai pai dong (大牌檔). Defined by Graham Street (嘉咸街), Gage Street (結志街), and Peel Street (卑利街) between Hollywood Road (荷李活道) and Queen’s Road Central (皇后大道中), Graham Street Market (嘉咸市集) is the city’s oldest wet market with about 160 years of history. Flanked both sides by small metal stalls, the sloped market streets present an iconic urban scenery where elderly, housewives, maids, and children rub shoulders with white-collar workers and foreign expatriates. Before the pandemic, tourists flocked to the market just to get a feel of the vibrant atmosphere and check out its decades-old shops. Artists and photographers also come to train their eyes by framing whatever that might catch their attention in a chance encounter. But it is the people from the surrounding neighbourhoods like us who regularly come for our daily needs, that have contributed in sustaining a street market culture in Central, just a block or two away from the central business district. In this ever-changing metropolis, every building, street, or neighborhood has a price tag. When the price is right, redevelopment seems to be inevitable. In 2007, a controversial announcement was made by the profit making Urban Renewal Authority to replace the Graham Street Market with HK$3.8 billion (about US$ 500 million) worth of housing, retail, office and hotel.
Months after we relocated to Hong Kong in 2014, we wrote a post on the Graham Street Market for the first time. Back then, demolition had already begun, but the majority of the market was still largely intact. 7 years have passed. While construction is still ongoing, 11 new market stores and a high rise apartment known as “My Central” have already been completed. Against the annoyance of dust, noise and construction truck traffic, Graham Street Market continues to serve the neighborhood today. In a relatively low dense neighbourhood, four new residential, hotel and commercial towers of about 30 storeys have been planned, along with their respective retail podiums. Being the heart of colonial Victoria City (維多利亞城), Central (中環) and Sheung Wan (上環) is officially the one and only old city of Hong Kong. While Hong Kong is no Rome or Paris, that doesn’t mean its old city is worthless. Instead, being an international metropolis frequented by tourists, many would expect the old city should be protected by stringent restrictions such as building height limits. Rather than keeping one or two historical facades as gimmick, the overall density, neighbourhood ambience, urban scale and fabric should be respected as a whole entity. Knocking down old neighbourhoods and replacing them with new towers is not a sensible way to rejuvenate a city, as Jane Jacobs pointed out decades ago. Not only would this kills the identity, diversity and character of the area, it would also destroy the neighbourhood’s self evolving power. In the words of Aldo Rossi, this is in fact destroying the genius loci (spirit of the place) of Old Central, like pinning four 30-storey towers right at the Campo de Fiori in Rome.
When I was a child, I used to visit Graham Street Market and the nearby Central Market (中環街市) with my aunt. Back then, I didn’t know that having such a destination of living heritage a block away from home was a privilege. Nor did I know that the market was actually an iconic filming location for photographs and movies. As a tourist attraction, the market is well received by foreigners to the point that even Queen Elizabeth II has come for a visit in 1975. For me as a child, the market was just a busy, noisy and sometimes slippery and bloody place where I could witness how chickens were slaughtered, cow’s and pig’s heads were hung for display, and live fish were de-scaled on a thick wood block. It was the 1980’s when purchased meat was still wrapped in butcher paper and tied with local salt water grass instead of using a plastic bag. Graham Street Market was where I first grasped a sense of what daily living is all about: gossiping with neighbours, picking the freshest food, bargaining with the hard working vendors, day in, day out. Three decades on, these scenes of street market culture are unfortunately fading. The “renewed” Graham Market shall be cleaner, less noisy, and perhaps have a few more planters and trees, but it may turn out that only gourmet stores selling Japanese wagyu, French cheese and Tasmanian cherries could survive the rent. The street market culture of Central might continue to fade until one day it only exists in historical photos.
Whenever I flew with Cathay Pacific, I often selected Wong Kar Wai’s (王家衛) Chungking Express (重慶森林) from their entertainment system when I was about to take a nap. Indulging myself in the repeating music of Dennis Brown’s Things in Life and The Mamas & the Papas’ California Dreamin’, and Christopher Doyle’s dynamic shots of Tsim Sha Tsui and Central always relaxed my mind. Chungking Express is undoubtedly one of my most favorite Hong Kong films. Chungking Express is lighthearted, complex, ambiguous, and beautiful. There are two stories in the film. The first story follows policeman 233 (Takeshi Kaneshiro) and a female drug smuggler (Brigitte Lin) at Chungking Mansion in Tsim Sha Tsui. The second story follows policeman 633 (Tony Leung) and a female staff (Faye Wong) at Midnight Express, a snack bar in the entertainment district of Central. Released in 1994, three years before Hong Kong was returned to China, the film did capture a mixed bag of sentiments and mood of that era: sense of uncertainty, ambiguity, loneliness, loss, affection, impermanence, desire to change, hope for a brighter future, etc. Without pretentious shots of the city’s famous skyline, Chungking Express is a visually dazzling film that captures the daily life of Hong Kongers happened in wet market, snack bar, old tenement apartment, convenience store, and the Chungking Mansion, a huge mixed use complex in Kowloon where new immigrants and tourists gather and stay the night. Director Wong Kar Wai describes the film as his love letter to Hong Kong. 27 years have passed. Chungking Express remains as an icon of Hong Kong cinema, and an exquisite documentation of the ever-changing city in that particular moment in history.
Perhaps it is because both protagonists Tony Leung (梁朝偉) and Faye Wong (王菲) are two of my favorite Hong Kong stars back in the 1990’s, or The Mamas & the Papas’ California Dreamin’ is too overpowering, or the filming locations in Central are just a few blocks from where I spent my childhood, I always like the story of Midnight Express more. Every time watching the film would remind me the old Central before the disastrous urban renewal projects that have torn apart Graham Street Market and gentrification that have wiped out uncounted tenement apartments and small shop owners who can no longer afford the skyrocketed rent. 1994 also marked the first anniversary of the Central – Mid-Levels Escalator (中環至半山自動扶梯), a 800m escalator system from Downtown Central up to the Mid-Levels. Wong Kar Wai chose the escalator and an adjacent apartment unit (home of Christopher Doyle, the legendary cinematographer of many Wong’s films) as the major film set for Chungking Express. Wong’s selection prominently imprints the escalator in the cultural atlas of the city, and introduces such unique urban feature to the whole world. In fact, the success of Chungking Express has consolidated Wong Kar Kai’s name onto the stage of international cinema, paving the way for his triumphs in the later half of the 1990’s, including Happy Together and In the Mood for Love.
Today, the 800m escalators system remains the longest in the world, and a popular tourist attraction. In 2015, CNN website picked the Central – Mid-Levels Escalator as one of the coolest commutes in the world. The idea of building an urban escalator system began in early 1980’s, when the Hong Kong government considered various options to improve traffic and pedestrian circulation between Central, the business district of Hong Kong, and Mid Levels, the residential neighbourhood on the slope of Victoria Peak. Cable car and monorail were also considered, but an escalator system was eventually selected. After 2.5 years of construction, the system was opened to the public in 1993. Wong Kar Wai seized the opportunity and became the first director to shoot a movie there. The escalator soon became popular among residents and office workers in Central, and led to dramatic gentrification of the surroundings. Buildings along the escalator system were torn down for new apartments. Small shops were replaced by bars and upscale restaurants, forming a vibrant entertainment district that we now call Soho. For both good and bad, the Central – Mid-Levels Escalator has been a major catalyst that wipes out the old Central I have known as a child. Yet on the other hand, the convenience it brings us who live in the area has undeniably become an inseparable part of our daily routine.