This blog post explores how Journey to the West uniquely combined the imaginative scope of fantasy, the emotional depth of romance, and the original humor of comedy to achieve its distinctive charm.
The Meaning Journey to the West Left Me
Journey to the West is a 1995 film starring Stephen Chow and his close collaborator, Andy Lau. My reason for choosing this film is simple: it’s my absolute favorite movie. If asked to name the film I’ve enjoyed the most, I would unhesitatingly say Journey to the West. That’s how deeply meaningful this film is to me. So, the moment I heard about this assignment, Journey to the West naturally came to mind. I first saw this film in my first year of high school, stumbling upon it by chance while watching a cable movie channel. However, since I started watching it absentmindedly while channel surfing, I didn’t see both parts 1 and 2; I ended up watching only part 2. And as the movie neared its end, I burst into tears, truly heartbroken. When I tell this story, people around me often ask why I cried over a movie featuring a monkey and a pig, but no matter how many times I watch it, I inevitably break down in tears at the final scene. Having grown to love Journey to the West like this, my desire to watch it properly from the beginning grew stronger. I even went so far as to leave a message on the movie channel’s website asking them to re-air it. Eventually, I bought the movie at a DVD store, and now I own both parts. I rewatch them whenever I’m bored, and I’ve memorized most of the lines and know the story inside out. Yet, I still cry every time I see the final scene.
Anyway, I liked Stephen Chow even before that, but this movie made me his fan. Even if I haven’t seen all his films, I’ve tried my best to watch as many as possible. Of course, his recent releases like “Shaolin Soccer” or “Kung Fu Hustle” do pursue more mainstream humor, but Stephen Chow’s movies still bring me joy. Although many of his films are somewhat childish and over-the-top, there are few works quite as perfect as his when you want to clear your head and laugh lightly and thoughtlessly. For this reason, whenever I think of his films now, I feel a comfortable smile and a desire to watch them again.
Movie Narrative Summary
Moonlight Pearl
Sun Wukong (Stephen Chow) must journey to the Western Regions with Tang Dynasty monk Tripitaka (Naga Young) to retrieve sacred scriptures. However, tempted by the rumor that eating his master Tripitaka grants immortality, he conspires with his friend, the Horse Demon King, to kill him. Amidst this conspiracy, Guanyin Bodhisattva appears and admonishes Sun Wukong. Sun Wukong defies even Guanyin Bodhisattva and ultimately rebels. Consequently, Guanyin Bodhisattva destroys Sun Wukong, but the compassionate Tripitaka Master sacrifices himself to plead for Sun Wukong’s reincarnation. Moved by Tripitaka Master’s sacrifice, Guanyin Bodhisattva promises to reincarnate Sun Wukong as a human.
Five hundred years later, Sun Wukong is reborn as the Supreme Buddha (played by Stephen Chow), living as the leader of a bandit gang on Mount Wuyue. One day, two demons named Chun San-jang and Baek Jeong-jeong (played by Mok Mun-wi) appear and threaten Jizunbo, demanding he find a person with three dots on the soles of their feet. The demons believe that Tang Sanzang must also have been reincarnated, and that if they capture and devour him the moment he meets Sun Wukong (now Jizunbo), they will gain immortality. This is the plan they have devised. To make matters worse, the Horse Demon King joins the fray, igniting a fierce battle among the demons.
Amidst the chaos, Jizunbo falls in love with Baek Jeongjeong, who was his wife 500 years ago but has now been reincarnated as a demon. Meanwhile, between the deputy leader Li Dangga and Chun Samsipjang, a child is born who is the reincarnation of Tripitaka. Only upon meeting this child does Jizunbo finally realize he is Sun Wukong. After obtaining the mystical treasure ‘Moonlight Pearl’ that enables time travel, Sun Wukong finally journeys back 500 years to the past.
However, he arrives in an unfamiliar and mysterious realm, where he encounters Master Zha Xian in the Shu Lian Cave. This encounter becomes a pivotal turning point, compelling Sun Wukong to reexamine the threads of fate intertwined with his past, present, and very self.
The Zen Master’s Tale
This woman is Master Banxia, who 500 years later becomes the master of Bai Zhengjing and Chun Sanlang. Zixia is the very heart of the Tathagata’s lamp, sharing a single body with her elder sister, yet she descends into the mortal world to seek her destined partner. Zha He believed her destined partner must be able to draw her Zicheng Sword. The moment she saw Zizunbo draw it, she marked him as her husband. However, upon learning Zizunbo already had a beloved woman, Zha He quietly departed. Zizunbo, returning to seek his master, was captured by the Horse Demon King along with his fellow disciples.
The Demon King of Horses and Demons attempts to marry Jizunbo to his sister, Xiangxiang. Jizunbo secretly escapes from the ceremony and heads for the Spiderweb Cave. There, he meets Bai Zhengjing again. However, Bai Jingzhen, realizing Zizunbo’s feelings for Zaha, ultimately leaves his side. Zizunbo goes to Guanyin Bodhisattva, declares he will become Sun Wukong, and vows never to love a woman again.
Afterwards, Zizunbo heads to the Demon King’s castle with Zhu Bajie and Sha Wujing to rescue Tang Sanzang, engaging in a decisive battle and rescuing Zaha in the process. After confirming Zizunbo’s love, Zaha dies while trying to save Sun Wukong, who is in danger during the fierce battle, struck down by the Horse Demon King’s sword. The Horse Demon King ultimately meets his end at Sun Wukong’s hands.
Sun Wukong and his companions set out on their long journey once more. Along the way, they witness Zizunbo and Zaha meeting again and confirming their love for each other, and the story moves towards its natural conclusion.
Fantasy, Romance, Comedy
Stephen Chow’s Journey to the West series, based on the Ming Dynasty Chinese fantasy novel Journey to the West, also belongs to the fantasy genre. However, as it stars Stephen Chow, known as the King of Comedy, it naturally incorporates comedic elements. Moreover, it vividly displays a deep and sorrowful romantic tone, making it arguably more fitting for the romance genre.
Fantasy
The characters appearing in the fantasy film primarily include the Supreme Treasure (Sun Wukong) and his subordinates, the Piggy (Zhu Bajie), the Blind Man (Sha Wujing), as well as Tang Sanzang, Bai Jingjing (a demon), Chun San Shizhang (a demon), Zha Ha (a monk), and the Horse Demon King. True to the fantasy genre, they are depicted as beings closer to demons or immortals rather than ordinary humans.
Additionally, the film features a mysterious artifact called the Moonlight Pearl, a device with time-traveling capabilities akin to a time machine. When bathed in moonlight and chanting the incantation “Poro Poromi,” it unleashes the power to leap through time—from mere minutes to as long as five hundred years.
In Journey to the West, dreams play a crucial role in advancing the narrative. The Jade Emperor repeatedly hears Guanyin’s voice in his dreams, gaining enlightenment about his own existence. He also witnesses scenes of dialogue between Tang Sanzang, Guanyin, and Sun Wukong through these dreams. Notably, the scene where Sun Wukong is killed by Guanyin and the scene where Tang Sanzang chooses death to save him are both presented through dreams. This approach uniquely structures the narrative flow.
True to the nature of Chinese wuxia films, martial arts scenes also appear frequently. The two beautiful female demons possess exceptional martial arts skills, and Zha Ha also wields extraordinary martial arts prowess. Beyond this, scenes like the one where a fan creates a wind powerful enough to send the earth flying to the sun demonstrate how deeply fantasy elements permeate the entire film.
While some critics deem the special effects quite poor, even these scenes blend naturally with Stephen Chow’s distinctive film style, further highlighting the work’s unique character.
Romance
Romance is particularly prominent in this film. Although it belongs to the fantasy genre, many people remember Journey to the West not primarily as a simple fantasy work, but first recall the heartache and tragedy contained within an impossible love. Originally, Zahaxianzi was the wick of the Sun and Moon Lamps (日月明燈) that illuminated the front of the Buddha statue alongside Qinghaxianzi. However, one day, driven by the single-minded desire to take the man who drew her sword, the Jade Green Sword, as her husband, she flees the celestial realm. Meanwhile, the Supreme Treasure, carrying the Moonlight Pearl, travels back and forth through time, only to be swept into the world of 500 years prior. There, before the cave of Bansadong (still known as Suryundong at this point), she encounters none other than Zixia Xianzhe.
Ji Zunbo had an urgent reason: he must retrieve the Moonlight Pearl as soon as possible to fly back 500 years and save Bai Zhengjing from the brink of ‘suicide’. But Zixia Xianzhe had no intention of giving it up. Then, Ji Zunbo casually drew Zixia Xianzhe’s Jade-Blue Sword. At that moment, Zixia Xianzhe recognized Ji Zunbo as her destined soulmate. Zha Xianzi used her magic to enter directly into Zizunbo’s heart and confirm his true feelings. She discovered that Sun Wukong (still Zizunbo at this point) still loved Bai Zhengjing, ‘left behind in the world 500 years in the future’. Ultimately, Zha Xianzi decided to leave Zizunbo.
Around that time, the Supreme Treasure met the Horse Demon King and, by chance, ended up marrying the Horse Demon King’s sister. The Horse Demon King declared he had gained a concubine. That concubine was none other than Zixia Xianzhe. Enraged that Jijunbo, who claimed to love Baek Jeongjeong, had married the Horse King’s sister, Jahaseonja draws her sword and approaches Jijunbo as if to slit his throat. But at that moment, Jijunbo’s soliloquy reaches her ears.
“At that moment, the distance between that blade and my throat was a mere 0.01 centimeters. Yet, in that brief instant, the owner of that sword would come to love me utterly. For I had resolved to lie. Though I told countless lies in my lifetime, that moment’s lie was the most perfect of all.”
Jaha Seonja shouts in fury.
“Take one more step and I’ll kill you right now.”
Jijunbo responds.
“Do it. A scoundrel like me deserves to die. True love stood before me, yet I didn’t recognize it. Only after it was gone did I realize my profound regret. In human affairs, there can be no greater suffering than this. I beg your blade to strike my neck. Do not hesitate. If heaven grants me one more chance, I would say only these three words to her: ‘Wo ai ni.’ If that love must have a deadline, I would set it at ten thousand years.”
And Zizunbo confesses that his true love was Zahaxianzi, declaring he will find the Moonlight Pearl, return 500 years in time, save Baizhengjing, reveal the truth, and untangle the scandalous mess. His smooth talk completely deceives Zahaxianzi. However, just as he tried to escape, he was discovered by the Demon King, leading to a battle. In his flight, Jizunbo fell off a cliff. Barely saved by a thief, Jizunbo learned that while unconscious, he had called out the name of Baek Jeongjeong (the woman destined to be his wife 500 years later) 98 times. But what followed was even more shocking.
“He called out Jia Ha Xianzi 784 times.”
At that moment, Bai Zhengjing from 500 years in the future appears, and Zizunbo tells her.
“500 years from now, because of me, you will forget the monkey and become my wife. It’s been truly difficult all this time. There were countless events… Let’s not marry 500 years from now. Let’s marry now.”
Baek Jeongjeong also enters Jijunbo’s heart to confirm his true feelings. Realizing whom Jijunbo loves, Baek Jeongjeong leaves a letter and departs. Jijunbo, who had repeatedly entangled himself in romances and scandals with various women while traveling between past, present, and future, finally faces his moment of destiny. At this moment, Chun Sam-nang appears and takes Jijunbo’s life. The physical Jijunbo dies, leaving only the complete Sun Wukong behind.
Sun Wukong realizes Guanyin Bodhisattva’s will in the Water-Lotus Cave. He gains insight into the meaning of all worldly connections—human love, affection, hatred, death, and more. He now completely severs all worldly ties, places the Diamond Headband (a tool that mercilessly clamps his forehead should any lingering attachment to human affairs remain) upon his brow, and sets off on the journey to rescue Tang Sanzang and obtain the scriptures from the Western Regions. Yet, just before donning the Diamond Headband, he utters one final, heart-wrenching confession of love.
“Before, I didn’t recognize the one I truly loved even when she stood before me. Only after losing her did I regret it. If given another chance, I would say I love her. If love must have a deadline, I would set it at ten thousand years.”
These words were identical to those previously spoken by the Supreme Treasure to deceive Zha Ha, but this time they were sincere, not false. Having become the peerless, Heaven-defying Great Sage Sun Wukong, the Supreme Treasure rescues Tang Sanzang, who was being held captive by the Horse Demon King. However, when the Sun Wukong-turned-Zizunbao turns away from her, Zixia Xianzhe cannot bear the sorrow and ultimately sacrifices her life to the Horse Demon King’s spear in Sun Wukong’s place. Having lost Zixia Xianzhe, whom he truly loved, Sun Wukong is consumed by extreme rage, agony, and grief. The more he suffers, the tighter the Golden Headband squeezes his forehead.
The power of the Moonlight Pearl returns him once more to the cave 500 years later. Just before Sun Wukong, Tang Sanzang, Sha Wujing, and Zhu Bajie depart for the distant Western Regions, they see a man and woman standing atop the city walls. The Supreme Buddha, dressed as a sunset warrior, prepares to leave, while the woman clinging to him is none other than Zixia Xianzi.
Ultimately, the theme of this film is ‘love’. And whether Stephen Chow’s time travel spanning over 500 years was a dream, imagination, or reality doesn’t really matter. Because no matter how the direction of time shifts, a complex love story runs through his heart. Furthermore, perhaps he chose to preserve his past love in the form of the Sunset Warrior, replacing Sun Wukong, who had already physically severed all ties with human worldly affairs. Like a cherished photograph tucked away in a drawer.
Comedy
Stephen Chow’s signature brand of comedy shines through unmistakably in this work. While the film carries a tragic love story that clearly cannot be fulfilled, what matters is that Stephen Chow uses this serious narrative as a foundation to showcase his unique comedic sensibility. In the film, he never once laughs. From a conventional perspective, his imagination explodes with absurdity at every turn, yet Stephen Chow speaks of love with utter sincerity in each moment, struggles desperately for survival, and it is precisely this earnestness that elicits even greater laughter.
Another standout element in ‘A Chinese Odyssey’ is its parody of director Wong Kar-wai, who sparked a sensational reaction among young cinephiles at the time. Reflecting the taste of Eugene Yoo, who produced ‘Ashes of Time’ and directed ‘East Is East’, ‘A Chinese Odyssey’ parodies the scene from ‘Ashes of Time’ where Yang Zhaowei recites a love poem in the middle of the desert. This scene is impressively reconstructed with a dual structure: the Supreme Treasure, now Sun Wukong, looking back at his past self. It also masterfully parodies the famous line from ‘Chungking Express’ delivered by Kim Seong-moo: “If I had to set a time limit for love, I’d make it ten thousand years.” It even perfectly recreates the final scene from ‘Eastern Condor’ where a character, falling from a cliff, yearns for unfulfilled love through death, eliciting admiration.
Of course, if it had ended with just these parodies, the work would have remained a mere wuxia comedy. However, the ‘Journey to the West’ series more intricately unfolds Stephen Chow’s consistent thematic concern: the narrative structure of a lowly life being reborn as a hero. The dramatic and meticulously crafted journey of the Supreme Treasure, who was merely the leader of a band of ignorant desert thugs, is depicted. After leaping through 500 years of time, experiencing love, fate, and all the joys and sorrows of life, he is finally reborn as Sun Wukong, setting out to obtain the sacred scriptures.
The Journey to the West series, where the hilarious incantation “Poro Poromi” coexists with the poignant line “If I must set a time limit for love, it would be ten thousand years,” is a kind of highly polished gift set, simultaneously delivering the unique blend of emotion and laughter characteristic of Stephen Chow’s films.
What is fantasy?
What exactly is fantasy? Fantasy exists in film, in games, and can be encountered across various media like novels, animation, and comics. Rooted in human imagination, people have relentlessly pursued fantasy from ancient legends to modern novels, games, animation, and film. In the new century and amidst rapidly changing realities, humans feeling vague anxieties increasingly show deeper interest in the world of fantasy rather than reality. Moreover, the accumulation of science, technology, and capital achieved by humanity has enabled the diversification of expressive means and methods, leading new generations to crave other forms of media and narrative. For these reasons, fantasy and mythology have transcended literature and migrated into diverse media like film and games. Today, we naturally encounter fantasy under various names through the medium of film.
By the late 1990s, people were gripped by ‘end-of-the-century’ fears. It was a time where anticipation for the new century coexisted with an inexplicable dread and anxiety. Consequently, people began turning their gaze toward the world of fantasy—a realm brimming with imagination, delight, and escape—to flee the anxious and frightening reality. In essence, they chose fantasy as an alternative to their unsettling reality. Within the fantasy world, people sought to shake off the fear and anxiety they felt in reality. Works like ‘Harry Potter’ and ‘The Lord of the Rings’ were prime examples that satisfied this desire, drawing many away from a frightening reality into an imaginary world populated by fairies, magic, and heroes who save humanity.
This fantasy world is unconstrained by time and space, where fantastical events that could never occur in reality unfold as if perfectly natural. Stories infused with mythical elements often follow structures like ‘Once upon a time, a handsome prince and a beautiful princess met and lived happily ever after,’ or ‘A kind yet mistreated girl by her stepmother ultimately finds happiness.’ We experience vicarious fulfillment when hearing these tales. Through such narratives, we indirectly resolve desires and emotions we longed to achieve in reality but couldn’t.
Though the story briefly veered off course, let’s return to the starting point and examine what fantasy truly is. Fantasy, that is, illusion, is something that does not exist in this world and cannot be grasped by hand. Yet, precisely because it cannot be grasped, it is a genre we crave all the more. Fantasy is not merely a diversion in life; it is an important narrative form that serves as a mirror reflecting the world and sometimes even performs the function of critiquing reality.
