“Miss Shampoo”: Giddens Ko Ching-teng’s Eccentric Romantic Comedy

Taiwanese film visionary Giddens Ko Ching-teng, not content to merely pen stories, brings his own 2010 novel, “Precisely Out of Control,” to the big screen with a fresh cinematic twist in “Miss Shampoo.” This romantic comedy displays all the hallmarks of Ko’s distinctive style, characterized by its youthful energy, pulsating soundtracks, and memorable characters.

At the heart of this narrative is Vivian Sung Yun-hua, who takes on the role of Fen, an apprentice hairstylist with an unlikely passion for baseball. Contrary to her generally subdued nature, Fen’s life takes an unexpected turn when she crosses paths with the unassuming gangster, Daniel Hong Yu-hong’s character, Tai. When a wounded Tai seeks refuge in her salon, Fen not only hides him from his dangerous pursuers but also sets into motion a series of events that will intertwine their destinies. Touched by her kindness, Tai returns for a haircut and is instantly smitten by Fen’s unparalleled skills. This leads him to recommend her to his gang, causing a stir among Fen’s colleagues.

However, their budding romance does not sit well with everyone, particularly Tai’s lieutenant, Long Legs, played by Kai Ko Chen-tung, a regular in Ko’s films. With Tai distracted and the balance of power shifting in the criminal underworld after the death of their boss, Long Legs finds his loyalties and ambitions tested.

In classic Ko style, the narrative is dense, weaving together eccentric characters and unexpected twists. Neither Fen nor Tai fit the conventional mold of romantic leads, and this is where Ko’s storytelling shines. They’re both quirky, endearingly awkward, and often overshadowed by bold characters around them. Tai’s gang, for instance, is an amusing ensemble of bumbling misfits. Likewise, Fen’s family, with their peculiar dynamics, poses challenges for Tai that rival those of his life in crime.

However, the film sometimes delves into humor that, while it might have been intended as a playful critique of overt masculinity, tends to come off as juvenile. There’s a clear enjoyment in the mischief and antics of the film’s more boisterous characters, but it occasionally detracts from the more tender and sincere moments between the central pair.

If “Miss Shampoo” had perhaps been more self-reflective and a touch less frivolous in its comedic choices, its true strengths might have been more vividly illuminated. Nonetheless, it remains a testament to Ko’s ability to craft intricate, unconventional love stories against the most unexpected backdrops.

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