The Three Charming Smiles (5) - Smiles Since 1926

Well, we have finished the Hong Kong mandarin versions, and here comes the final chapter of my long running "Three Smiles" series.

we will see the Cantonese versions, and from history, two famous Cantonese opera versions has been made, one in 1957, another in 1974 .

Always "Hei Bou" - How The Scholar Tang Bohu Won The Maid Qiuxiang (1957)

"Hei Bou",means the gem of opera (Cantonese Opera) in movie, and it was indeed true, especially when comes to Yam and Pak collaboration.

Though has long being considered as Cantonese Opera classic, but it has been reported that Miss Pak Suet Sin seemed doesn't fond of it very much, as the plot appeared to be abit vulgar and coarse to her .

However, when comes to performance, no one would ever doubt the fantastic chemistry between this legendary screen couple.

Delicate Legacy - Love of Three Smiles (1974)

This version, starring both Long Kim Sung and Mui Suet Si, have been an unanticipated blockbuster in 70s, which was the dawn era of opera movies, and resulted their subsequent collaboration in Princess Chang Ping (1975), directed by John Woo, and marked the finale of Cantonese Opera in silver screen.



Both Lung and Mui are the famous and acclaimed apperentice of Yam and Pak, being trained professionally by both legends in the "Baby Phoenix Sings" Troupe since 60s.

Though it was a remake of their teachers' version 20 years ago (with some refinement made to the script), but it seem that Lung and Mui have demonstrated their distinctive quality, while inheriting the essence of Yam-Pak's art and characteristic.

Just for your information, both Lung and Mui are still active in opera stage till nowadays, which is really hard to come by.

The Three Charming Smiles (4) - Smiles Since 1926

Award Winning Huang Mei Musical : THREE SMILES (1969)

Here comes the 1969 version of Three Smile, the Hong Kong Shaw Bros production directed by veteran director Yueh Feng, whom also directed the 1940 Yi Hua Studio's version of "Three Smiles" in Shanghai.

Starring the foremost Huang Mei musical queen Ivy Ling Po, together with Li Ching, the "Baby Movie Queen" of Shaws Studio, this film was one of the very last Huang Mei Musical feature of Hong Kong.

A typical Huang Mei movies by Shaws, it won the best film (Comedy) in 15th Asian Film Festival. Though it was not the best and as "classics" as Kingdom and Beauty (1958), Diao Charn(1957), The Love Eterne (1963), It still has it's own significance, as it marked the ending of Huang Mei musical golden era in Chinese screen.

As for the film itself, it was still a film with good quality, from acting, directing to filmset, and indeed both Lvy and Li Ching has gave a wonderful performance too, especially Li Ching, whom has portrayed a youthfully adorable yet innocent Qiu Xiang, a rather different interpretation compare to Chen Sze Sze, who has been very vivacious and dynamically beautiful in Great Wall version's Qiu Xiang.

However, I have to admit that personally that, when comes to Shaws Huang Mei Musical, I still prefer Ivy in blockbuster The Lover Eterne (1963) and Li Ching in The Mermaid (1965) .

As comparative to Great Wall version filmed in 1964, I would still favor the earlier one, from overall artistic quality, creativity , directing, scripts,costume design and even to the chemistry between Tang Bohu and Qiu Xiang, the Great Wall version have been more impressive yet relatively splendorous too.

The Three Charming Smiles (3) - Smiles Since 1926

Chen Sze Sze and Xiang Qun in Three Charming Smile (1964), still captivting and entertaining after 40 years

Classic Chinese moviesgoers would definately remember or notice these two versions: The Great Wall version(1964), and the Shaw Bros version (1969).

Dazzlingly memorable : THREE CHARMING SMILEs (1964)

Directed by the veteran filmmaker Li Ping Qian, the chief director of Great Wall that has been active in showbiz since silent era, this version would surely always be remembered by Mainland Chinese of middle age and above, as it has been truly a massive hit upon it's release soon after cultural revolution.

VIDEO CLIP: The First Smile of Qiu Xiang (Chen Sze Sze) in temple, has made Tang Bohu (xiang Qun)fall in love at first sight, and thus starts showing affection and flirting Qiu Xiang



This feature, whom established the darling Chen Sze Sze as the immortal sweetheart of China, was a rather interesting musical that appear to be one of it's kind for entire Chinese film history.

Instead of falling into the endless ruiness competition between Shaw Bros and Cathay's in Huang Mei Costume musical, Great Wall Studio has actually come out with this one, adapting different genres of Jiang Nan (inclusive of the ancient Wu dialect speaking area -Zhe Jiang province, Jiangsu province, Shanghai) region folk musics and opera, with customized lyrics, this appear to be so unique yet ensuring the commercial success of the film.


VIDEO CLIP: Qiu Xiang (Chen Sze Sze)has been so irritated with Tang Bohu (xiang Qun)fall in irritation, yet tang Bohu seems to become even annoying~~:)

It was indeed a splnedid creativism that combined commercial value, entertainment quality, while preserving the essential cultural sgnificance by employing various chinese folk music, as well as some of the genuine Chinese opera technique in emotional expression, compare to the rather repetititve Huang Mei musical style of that era.


Up to date, this has been the best screen adaptation in my eyes, and both Chen Sze Sze and Xiang Qun has given a marvellous and unforgettable performance...

Note: Miss Xiang Qun of Guang Dong origin, was born and brought up in Shanghai as Chen Xiu Ping. She first joined a Shaoxing Oepra Troupe in Shanghai and has been trained to play the "sheng (male)" role, before involved in Hong Kong' Great Wall's prouduction of Three Smile (1964).

She was once dubbed the Yam Kin Fai of Shaoxing Opera by Screen and Stage Pictorial, and only has two films in her filmography. Xiang Qun was a professional Shaoxing opera actress, and she has established her very own Opera troupe in Hong Kong named Golden Phoenix, with quite a number of successful performances in Hong Kong and singapore, in collaboration with Great Wall actress Li Qiang.

Special thanks to earlymoon for Xiang Qun information, Yin Niu Si and Shuesik for San Xiao's Clips...

VIDEO CLIP: Old maid Shi Liu (Qiu Ping) whom secretly admiring Tang Bohu, has finally decided to make the first move !

The Three Charming Smiles (2) - Smiles Since 1926

Well, we have finished the chapter of pre-PRC Shanghai's adaptation of The Three Charming Smile, let's move on to Hong Kong Mandarin cinema scene~~

Start off with this one:

Forgettable, but mentionable - THREE WINNING SMILES (1956)

When comes to Grace Chang, even Chinese of younger generation might have heard about her, thanks to her successful singing career, hits and also classics like The Mambo Girl (1957) and The Wild Wild Rose (1960).

As for Mr Bu Wan Cang (Richard Poh), the Cecil de Mille of China, he was the foremost and prolific director since 20s till 60s, discovering superstars like Grace Chang, Ruan Lingyu as well as Chung Ching.

Though this is the not the only feature of Richard Poh - Grace Chang collaboration, but who would ever mentioned, or even remembered Three Winning Smile (1956)?

Well I'm not sure why, prehaps my speculation and opinions below could serve as an unofficial reference.

First of all, it was really hard to imagine that the sexy "Oriental Marilyn Monroe" Liu Qi being casted as the stereotypically handsome, debonairly dissolute, yet talented scholar Tang, while the modest looking Grace as the vivaciously alluring servant girl Qiu Xiang.

To be frank, I still found it acceptable for Grace Chang to become little Qiu Xiang, as Grace still possesses her oustanding characteristic, especially when comes to music and singing talent~~

As for Liu Qi to become scholar Tang, I have to say that I'm really speechless and beyond words for further description...

I would say that this could have been one of the greatest miscast ever in chinese film history.

Hence, it could be the reason why this film has been forgettable for decades, and I suppose no surviving copy exist till nowadays~~

I would really love to watch it if there's still surviving reels, maybe it may not be a great miscast as perceived and persumed, it could be something different or inspiring that could change my mind though~~

(To be continued...)

The Three Charming Smiles (1) - Smiles Since 1926

Stephen Chow and Gong Li version of Flirting Scholar(1993)

Three Charming Smile (Or the flirting Scholar), a fiction that loosely based on a true account in Ming Dynasty, has been a much celebrated comedy love story that has adapted to different genres of Chinese opera for centuries.

More commonly known as The Scholar Tang Flirting Qiu Xiang, it tells the story of renowned Scholar Tang Bohu that met servant girl Qiu Xiang in temple , and fall in love at first sight, whom he decided to disguise himself as servant after Qiu Xiang third smile, and finally won Qiu Xiang's heart.

How many adaptation has been made for this enduring love story to Chinese screen then?

Out of curiousity, I have actually made a simple search in chinese movie database, and it seems that for decades, there arenot less than 10 adaptations found, from silents to talkies, from musical to opera, from Mandarin, Cantonese, even to Amoy and Teochew dialect versions~~

Let us have a look on a few notable adaptation to the screen:

The Earliest version - THE FLIRTING SCHOLAR (1926)

This very first screen adapatation was the production of Tian Yi Studio Shanghai, starring the later movie queen and also wife to Runje Shaw, Miss Chen Yumei.

Well, it has been rather certain that this silent version has been a lost copy, but somehow I found a movie still from Miss Su Zi vintage movies Essays.

Suprisingly, from the movie still found, it was not in classic costume, but was in present fashion of that era, which was quite unqnticipated, as Tian Yi Film Studio has been well known for the production and the trend settler for costume drama of that era.

Probably the influence of Mandarin Duck Butterfly literature and modernism might have contributed to this~

The Cut- Throat Competition - THREE SMILEs Vs THREE SMILEs(1940)

Li Li hua in her debut Three Smiles (1940) with Yi Hua Studio (photos from Shanghai Digital Library)

**************HEADLINE**************
Guo Hua Studio Vs Yi Hua Studio!
1 weeks production Vs 7 days production!!

Celebrated Zhou Xuan Vs Freshie Li Li Hua!! !!
Release: 10th June 1940 Vs 3rd June 1940!!!!

Adorable Zhou Xuan as Qiu Xiang in Three Smiles (Guo Hua Studio version, photo courtesy from yang Yang, Tianjin)


This has been the most famous competition ever in Chinese film history, and the competition has appeared to be much more interesting and notable , compare to both films themselves


Well, it was reported that both films has gained rather equivalent commercial success, and to me, the most significant implication would be the birth of legendary Movie queen Li Li Hua, whom her prolific career spanned for 4 decades, and has almost all the films she starred to be the first billed actress...

There have been so many cut-throat identical films comeptition happened in Chinese Film history since late 20s~~ Though not a healthy compeition, but this phenomennon was rather interesting to study, as I don't recall so far any of them in other regions (or probably there were that I still yet to know)~~

If both of these Three Smiles happened to have any surviving copy or reels exists, I would really love to see, golden Voice Zhou Xuan Vs the everlasting Li Li Hua, who was the better Qiu Xiang in 40s Shanghai screen then....

In the next entry, we will discuss the Hong kong versions of "Three Smiles", stay tune!

Pop Art + Avalokiteśvara Bodhisattva = Li Li Hua !

Avalokiteśvara, the Bodhisattva of Compassion in Mahayana Buddhism , is the most celebrated and respectable deity in Chinese religions and beliefs .


More commonly known as The Goddess of Mercy Guan Yin in Chinese cultural context, the Buddhist art interpretation to this multi-forms manisfested Bodhisattva in painting, mural, statues and etc have been in lavish varieties thourghout the centuries, from imperial court painting to folk art, from Sui Dynasty till Ching dynasty.

I have to say since Ching dynasty, consistency has been inspected in Guan Yin's image, and no more spark of creativity and innovation in art interpretation, until i saw this one~~~

The first photo in this entry is the centerfold found in Southern Screen (Dec, 1964), Li Li Hua was painted as the Goddess Guan Yin. Artist unknown, this photo is the prelude for the 1966 release of Shaw Bros "The Goddess of Mercy".

In the portrait, you see comical dragon with rather inoccent big eyes, the bizzare hybrid of bamboo, the combination of 3 images of Traditional Sino-Buddhsim 33 Guan Yin Manifestation (The Fish Basket Guan Yin, The Ekādaśamukha, The dragon Head Guanyin), the fashion that combines the element of Indian, Tang dynasty and Ching Dynasty Han's Chinese element, the vivid colour elements which reminded me of Bollywood movies and Thailand's commercial pop art~~

Well, I have to admit that is truly a shocking surprise for me to see this refreshing creativism of interpretating the Goddess of Mercy, what a revolutionary interpretation~~

Well, the most interesting part would be the face of Li Li Hua at her middle age, has instilled a new significance not only to buddhist art, but also to herself.

In terms of Buddhist art, Guan Yin has always portarying a compassionte gaze and implicit neutrality, that always ready to listen to the suffer of the mortal world and to save the suffered and tortured. However, Li Li Hua has somehow potrayed a dignified and fierceful look, it was so unquestionably authoritative and fearsome, with no resemblance of the stereotyped, but somehow reminded me of surviving image of Empress Dowager Tzu Hsi (Ci Xi) dressed herself up as Guan Yin.

Regally make-up and makeover since late 50s, Li Li Hua has been really ambitious in her acting career and commited in fighting the aging process, whom finally her hard effort has paid. From the much threaten movie queen status, she transcended her status to the immortal "Evergreen lady" in the Chinese Silver screen, established herself as the only "ageless legend", with career spanned more than 4 decades as leading lady, this has been a miracle in chinese film history.

Movie still of the scene of Guan Yin martyrdom in flaming fire


Just a small gossip in regard to this movie, it has been reported that when The Goddess of Mercy (1966) shown in cinema of Taiwan, some devotees has actually burnt the josssticks and brought along offering into cinema, to worship the scene where Li Li Hua transcending to Heaven and becoming the deity~~ abit cultish it seems~~

I even wandered, has anyone actually bought this issue of Southern Screen, had the poster teared and framed , in order to worship it at the altar of the house??

Well, this movie title has been available in DVD home video, and I'm still yet to watch it~~


Pop Art + Avalokiteśvara Bodhisattva = Li Li Hua , that's my short summary...

The Mandarin Bowl (1956) - The First and Only English Dialogue Film in Chinese Cinema

Miss Bi Baoqiong in the cover of movie synopsis of The Mandarin Bowl (1956)

Well, it is quite usual to find Chinese production in various chinese dialects throughout the history, but never will people thought of this has ever made~~

This is an English language film, but is neither same context with Toll of The Sea, Broken Blossoms, The Good Earth, The World of Suzie Wong , Love is The many Splendid Things , The Flower Drum Song, nor The Joy Luck Club.


Though it might not survived, and certainly forgettable, but no doubt this is a rather interesting and significant fact in Chinese film history.


Filmed in 1956, The Mandarin Bowl, or it's Chinese title Tai Ping Shan Xia (Literal translation: Under the Victoria Peak) , has emerged to be the first in Hong Kong, and probably the only one in chinese cinema filmed in full English dialogue at the moment (When comes to my scope of definition, this included Mainland, Hong Kong, Taiwan, as well as Malaysian/Singaporean Chinese production ).

Loosely based on real incidents occurred in Hong Kong's refugee community, below are the movie synopsis extracted from Hong Kong Film Archive online Database, for your reference:



To write her master's thesis, Canadian Chinese Eileen Zheng comes to Hong Kong to research into the history of piracy. Assisted by her tutor Professor Paul, as refugee from the mainland, and enlightened by a Taoist Priest, Eileen retrieves an ancient copper bowl inscribed the text which reveals the whereabouts of a treasure trove. A group of bandits discover the same secret and chase after Eileen to Cheung Chau. The police are alerted in time to arrest the bandits. Following the teaching of the Taoist priest, Eileen and Paul donate the treasure to aiding refugees.


As per cited in Hong Kong Film Archive online Database too, Dragon Film Studio actually convened a highly publicized press conference on 18 April 1956, explaining that the film was made in English to disseminate Chinese culture to worldwide audiences, and with the aim of opening up markets in America and Europe.



From the movie synopsis found in Roth's collection, I understand that this is the debut for Dragon Motion Picture. They even annouced that the Chinese Dubbed version has been available, for Chinese speaking market.



Obviously, their great and idealistic ambition has not come true, and the One-Stone-Two -Bird marketing strategy didn't seem to work out, and consequently, the debut feature was also the final feature for Dragon Motion Picture.



Let's see who has been who are the crews and casts in this movie:






the director was Tu Guangqi .


Dubbed as the "Money Box"director, Mr Tu has been quite a famous and prolific director in Chinese silver screen, especially the commercial success of his post WW-II anti-espionage film in Shanghai- The Spy Number One (1947), which has rocketed actress Ouyang Shafei into stardom. Of course, his romantic involvement with Miss Ouyang Shafei has also being very scandalous and notable among the publics and media ,from late 40s Shanghai to early 50s of Hong Kong.


From some blogs and essays found in internet, apparently this chinese blockbuster (Described by Chinese writer , "the melanchony Pioneer" Kenneth Pai Hsien-yung as "overwhelmingly sensational" ) still survive~~


There will be more entries on this famous chinese anti-espionage film, Tu Guangqi, as well as Ouyang Shafei in future, let's back to the leading lady and leading man of this movie.


Leading man was Chen Howe (Peter Chen Ho). Consider to be the most celebrated actor in 50-60s Hong Kong Right wing Mandarin films, Chen Ho graduated from the Anglican St John University of Shanghai, which was once China's most prestigious University. Hence I suppose there should be no doubt with his English proficiency then.


It was interesting to note that Fu Che, the most famous actor in 50-60s Hong Kong left wing Mandarin scene, was also the graduate of St John University.


More about this two major Hong Kong mandarin actors very soon.


When comes to leading lady, she was Miss Bi Baoqiong, I must say besides some surviving magazine covers, she has been little known, and only three entries found in her filmography.


Miss Bi, Miss Macau of early 50s, was the paegent of Miss World for Hong Kong, has her debut White-dappled Snake (1954) filmed, casting alongside with well known Wu Xia actress Yu Sou Chau, and also later famed director Lo Wei, and also later left wing versatile actor Shek Lui. It was interesting to note that she herself was the librettist for this feature.



Well, that's all for tonight, and thanks Roth for the rare movie sypnosis, or I should say, the chinese film history artifact :).

Bai Guang And Bai Bing - Mother and Daughter?

Bai Bing (top) and Bai Guang (bottom), daughter and mother?

Bai Guang, the foremost Femme noir and diva of vintage chinese cinema and music industry, has established herself as one of the most unforgettable movie icon and legendary singer in Chinese silver screen, following the release of golden hits like "Ten Sighs", "Waiting For you", "A Spray of Green in East Hill", as well as the blockbuster success of Trilogy with Hong Kong Great Wall Film Studio in late 40s, whcih has become nowdays Chinese cinema classics.

Bai Bing, one of Cathay Organisation (HK) 60's prominent actress, which her beauty and star quality has been always compared with Bai Guang, and thus has been dubbed "Little Bai Guang" by Cathay's official magazine International Screen.



However, there is something more to be unveiled. Beneath this resemblance and similarity, they have been long rumored to be mother and daughter...



I always thought that this has been some kindda tabloid popcorn gossip, until I heard the story from Madame Yang:



Madame Yang, the owner of a Evergreen bookstore Kuala Lumpur, is a serious moviegoers that fond of art, as well as an active leftist in 70s.



From the conversation with her, apparently she claimed that this rumor to be true, citing her old friend Mr Tak as reference. Acoording to her, Mr Tak was Bai Guang's neighbour in Kuala Lumpur, and has been quite close with Bai Guang. It was once that Mr Tak asked Bai Guang whether Bai Bing was her daughter, and Bai Guang admited this with no hesitation.



When Bai Guang passed away in August 1999, Mr Long has built a unique tomb in Memorial Park, to remember his most beloved one. According to Madame Yang, Soon after the tomb was built, Bai Bing did pay a visit to Bai Guang tomb, witnessed by Mr Tak as well.



Madame yang also revealed that Bai Guang has actually finished her autobiography, but never had chance to have it published. She also mentioned that lots of inside story and sceret of her personal life, as well as chinese cinema are to be disclosed in her autobiography.



I still yet to meet Mr Tak personally, which I would try to make my effort in near future, to have a better understanding of legendary Bai Guang. one of my favorite and beloved actress...

Helen Hsia Hou Lan - The Forgotten Sex Symbol

When comes to the sex symbol of 50-60's Chinese silver screen, most of them would first mention Diana Chang, Fanny Fan, Angela Yu Chien, Helen Li Mei, and some of the people would also include Mu Hong, Maria Yi Kwong, but i think only a little would still mention the name Hsia Hou Lan.





I guess moviegoers of those days surely won't forgot her strikingly atypical beauty and her impressive star quality, especially her bright, perky broad smile. Probably it just that her movies were too handful and not quite significant, and they need to be reminded before they could fondly remember her.

From the frequency being featured as cover girl, as well as gossips and news found in major movie magazines, I'm quite positive that her popularity of that era was not less than bombshell like Diana or Fanny.

I guess I have the duty to tell you what I know about this nowadays mysterious lady, Miss Hsia Hou Lan.

Born in Beijing as Chen Ru Sheng of Polish-chinese ancestry origin, Hsia Hou Lan completed her study in The prestigious Sacred Heart Girls' College Beijing, the school where Lian hua Studio Leading lady Chen Yan Yan was the alumna too. She could speak fine and fluent British accent English, and could play piano very well.


When comes to her career and private life, Hsia Hou Lan has no other thing but late Yu Cong.

Hsia Hou Lan and Yu Cong in Passion (1956)

I'm not quite sure when they actually married, but Her debut, The Diamond Flower (1953) , was the first feature of Yu Cong's The Pacific Ocean Film Studio, where he was the producer and scriptwriter in this film. It is interesting to note that the young Grace Chang has a supporting role in this movie as well.

Hsia Hou Lan in her debut, The Diamond Flower (1953)

Since then, she has achieved her popularity as the sexy bombshell, especially a few subsequent films that follows, with alot of "hot" action like long kissing scene, battle of beefcakes, (have been relatively explicit to the standard of that era) featured, all with collaboration with her husband Yu Cong, whom multitasked as director, librettist, singer, actor and script writer, again from their own production company -The Pacific Ocean Film Studio.







In those day, it has not being easy to run this rather independent and micro size film studio, and probably featuring beachside curvaceous cheesecake Hsia Hou Lan and beefcakes, Yu Cong himself and another actor Jin Di, would always be the Unique Selling Proposition to them, and of course, Hsia Hou Lan mass appeal and personal fame too.



Though not prolific, I think it has been rather a miracle for The Pacific Ocean Film Studio to survive till 70's, eventhough financial problem has been faced since late 50's, as reported in Great Wall Pictorial Issue 100.


Hsia Hou Lan in Fickleness of Mankind (1961),



I still recalled In an article in Malaysian chinese publication - The Mister magazine dated in late 70's, has showed the picture of Yu Cong who was suffered badly from terminal disease, and Hsia Hou Lan was seen sobbing sorrowly beside her husband. In the meantime, their studio's serious debt problem being reported too ...







After Yu Cong passed away, and no one really knows where and what happen to Hsia Hou Lan then, and then, she faded out from people's memory~~

Hsia Hou Lan and Grace Ting Ning in The Enchanting Melody (1959)

From 50-70s, Hsia Hou Lan has acted in not more than 15 films. Almost all of them with Yu Cong and Pan Pacific Studio, with exception of 2 with Shaw Bros(one in late 50s and another one in mid 70s), and 2 with Guo Hua Studio (Sutdio runned by famed couple Wang Yin and Yuan Mei Yun)




With Hsia Hou Lan's star quality and fame, she could have seek for better chance, and could have acted in better films, and could have being offered better long term contract by major studios...




But why she stayed with Pacific Ocean Studio?



Probably her devoted love and profound admiration towards Yu Cong might be the reason. I suppose The Pan Pacific Studio was like their baby, no matter what was the hardship faced, they still keep it running, until Yu Cong passed away in 1978.



Though might not be pragmatic it seemed, this couple have been very extraodinary in beholding their own ideal and principal in running showbiz, and they fought for it and strived hard to sustain it till the end.




Hsia Hou Lan, in my eye, she was the Sophia Loren of Hong Kong, and I wish I could find out some day what happen to her...






Although I might not be able to see her movies in my life , but she will always be one of my best loved actress, as her indisputable love towards Yu Cong and Pacific Ocean Studio has already a legend...






Note: Special thanks to Roth for sharing his private collection of Hsia Hou Lan

What Ever Happened to The Liang Sisters - 2

Just some additional information found recently:

featured above is the cover of special issue of Southern cabaret Singapore , published in late 40s.

It is indeed a rare findings, and special thanks to Roth.

Cover girl was the proprietress Miss Liang Sai Zhen, should be a middle age lady at that time. However, she look gorgeous and still surprisingly young to her age...

Regally shot in Qing costume, it seems that Miss Liang Sai Zhen has ruled the Club and Cabaret industry of Singapore of that era.

In the pages introducing the club's dance hall girls, you can see there were lots of girls with their short bio and portfolio, and all of them share something in common, no matter Malay, Chinese, or opera peforming girl, they all have a darling English name: like Rose, Nancy and etc.

It was quite interested to find Miss Liang Sai Shan in the list of dance hall girl as well.

Thanks Roth for sharing this rare artifcact~~

In Search of the Lost Scene of Calendar Girl (1959)

MP&GI blockbuster The Calendar Girl (1959) , directed by Tao Chin, has emerged to be the landmark feature of Hong Kong Cinema Eastman color musical, featuring lot of unforgettablely unique chinoser-ise Hollywood style musical scenes.

The Opening Scene of the film~~

Dance of The four season - Spring, adapting Zhou Xuan's 1944 song "The Adorable Morning"

Furthermore, with maestro of chinese Pop composer Yao Min collaboration as the music director, adapting popular old Shanghai hits, including the debut feature of chinese pop song - The Tiny Rain, whom Yao Min have those songs glamourized with stunningly refreshing styles and new lyrics, and this has made the movie unique on its own in Hong Kong Mandarin film history.

The Song of Fishermen scene, adapted from theme song of award winning Lian Hua Studio classic - Song of Fishermen 1935, sung by Wang Renmei.

However, the version that I watched has the following scenes missing: the Arabian dance scene of Helen Li Mei, and the Spanish dance scene performed by Diana Chang, which has been named the most dazzling yet compelling scenes by MP&GI official Studio magazine "International Screen", during filming period.

"Oh, Girl I Love You", adapted from late 20s Shanghai pop, sung by Li Ming Hui... and the lyric even have Names like Martine Carol, Jane Mansfield, and Marliyn Monroe beng mentioned by Helen Li while describing Diana Chang...

The March Song of the Scouts

A few stills have been included with the article that introduce this upcoming movies, and I hereby have them paste here for your references. I love Helen Li's style and post, very alluring and sensually seductive, I believe it truly would be one of the best Selling Proposition to the the studio as well.

Though I'm not sure, but I suppose the scene might be there when it was first released in late 50s, as I even found those pictures being featured in the movie synopsis as well, though without extra text or word description.

What puzzled me was: what's wrong with the missing scene in my VCD version? is it because of censorship? or is it damaged during processing? or are there any other underlying reasons?

No matter how, I wish this deleted scene would be included in the it's DVD release in future, only if it still exists~~~