Plot
Chicken did not return for this film and Chan Ho Nam is on his own. He finds a beautiful new love interest, (Shu Qi) and has to deal with some young "Tung Sing" triad members trying to make something of themselves. Young and Dangerous 5 happens during the transfer of Hong Kong sovereignty to China. We see a transition of the "boys" becoming "men" as they develop maturity and go into more business-like dealings.
The story describes the Eastern Star, Causeway Bay, a Szeto Ho Nam, intent with the status of the Chan Ho-nam compete Causeway Bay jabi it, during Ma Nadu Chen Jianan deceive Chan Ho-nam intention to cooperate with him and then abusing him, then turn with Szeto Ho South, Chan Ho-nam, a pedestrian quite angry. An Uncle Seven, next to the woman - lying fine, Chan Ho-nam to her many feelings, but that she was considerable indignation when to do things to help Chen Jianan. Shu Qi determination to help Chan Ho-nam expose Chen Jianan embarrassments, while the original replacement for Big Brother prison Big Head Young Tim was released from prison, he thought of the dull life as a selling newspapers at a street vendor, but it is often the Eastern Star strong protection fees Chan Ho-nam secretly help him, he was rather reluctant to talk to former gangster related.
Brother of the original Mr. Chiang, he lives out in Kuala Lumpur. He appears series several times after his appearance in fourth movie.
But in the end, after all, come back to help Chan Ho-nam, and on behalf of Hongxing to fight a boxing match with the Eastern Star, and Szeto Ho Nam privately resolution than a private game with Chan Ho-nam, who lost have disappeared in Causeway Bay. The final bulk of winning boxing matches, and Chan Ho-nam also defeated Szeto Ho Nam declaring only a "Ho Nam" and the movie ends it setting off the events of the first four films of Young and Dangerous.
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Famous quotes containing the word plot:
“Morality for the novelist is expressed not so much in the choice of subject matter as in the plot of the narrative, which is perhaps why in our morally bewildered time novelists have often been timid about plot.”
—Jane Rule (b. 1931)
“Those blessed structures, plot and rhyme—
why are they no help to me now
I want to make
something imagined, not recalled?”
—Robert Lowell (1917–1977)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)