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Mr. Smart
Movie

Mr. Smart

1989 • Unknown

Woke Score
1.2
out of 10

Plot

Smart (Kent Cheng), a sailor, returns from sea to his family to help with the family business and raise money for repairs, also teach people about love

Overall Series Review

Mr. Smart is a 1989 Hong Kong comedy-drama that centers on a seaman returning home to help his family out of poverty by starting a restaurant and fixing up their home. The narrative is focused on themes of family responsibility, individual initiative, and the pursuit of love. It does not engage with modern, Western-centric identity politics, civilizational self-hatred, or gender/sexual ideology. The film's core conflict is a universal one of economic struggle and personal relationships, which keeps the content focused on character merit and complementary social roles rather than political or ideological lecturing. The film operates completely outside the contemporary cultural and political framework that defines the 'woke mind virus.'

Categorical Breakdown

Identity Politics1/10

The film is a Hong Kong production featuring an ethnically homogeneous cast, with the plot centered on a family's economic struggle and Smart's efforts to improve their situation. Character judgment is based on individual actions and personal merit, such as the protagonist's resourcefulness. The narrative does not contain commentary on race, intersectional hierarchy, or the vilification of any immutable characteristics, scoring a perfect one.

Oikophobia1/10

The central action of the plot is Smart returning to his family's dilapidated dwelling to raise money for repairs and build a new house, driven by a desire to help his mother and sister. This narrative focus on improving one's home and protecting the family unit acts as a direct validation of one's own community and values. The film contains no hostility toward its own culture or ancestors, scoring a perfect one.

Feminism2/10

The movie includes a character-driven focus on the love lives of those around the protagonist, and the goal is to help his sister and mother. While the main character is a male 'know-it-all' who attempts to organize others' lives, there is no evidence of male emasculation or the active preaching of an anti-natalist or 'Motherhood is a prison' message. The female characters are integral to the family unit and the emotional plot, suggesting a more traditional, complementary view of gender roles, which warrants a very low score.

LGBTQ+1/10

The narrative's explicit goal is for the protagonist to 'teach people about love' and to organize the love lives of those around him, which, in the context of a 1989 Hong Kong family-comedy, focuses exclusively on traditional male-female pairings. There is no presence of sexual ideology, centering of alternative sexualities, deconstruction of the nuclear family, or lecturing on gender theory, resulting in a perfect one.

Anti-Theism1/10

The core plot is entirely secular, revolving around family, money, business, and romance, with no indication of religious themes, conflict, or characters. There is no portrayal of Christian characters as villains or bigots, and the narrative does not embrace moral relativism as a philosophical concept. The absence of religious themes means the film does not engage in anti-theistic messaging, scoring a perfect one.