The Golden Age of Chinese Language Cinema

Hsia Moon and Ruan Lingyu - Resemblance in Aura, Spirit and Style

2010-04-22T08:42:00.000-07:00

Ruan Lingyu - The Silent diva of 1930s

Hsia Moon, The Great Wall Crown Princess, 1950s

Apology for the long absence , and here comes my very first post in 2010!

Featuring today are two photos of my favorite actresses from different era, the first one is "The Goddess" of Chinese cinema of 1930 Ruan Lingyu, a familiar portrait which you might have seen it in Ruan's biopic - Center Stage, 1992 by Stanley Kwan; another one being a recent collection by Roth, The 1950s Hong Kong Left wing cinema top actress, the "Greatwall Crown Princess"- Hsia Moon.

Observing a highly Resemblance in spirit, aura and 1930 's style, I somehow wonder it might be a tribute from Hsia Moon to Ruan Lingyu.

In the meantime, it reminds me on the Q and A section with fans, from The official magazine of Great Wall Studio - "Great Wall Pictorial", stated that one of the Feng Huang Motion Picture Co, (Also a peominent left wing mandarin studio) film project in pipeline of was actually Ruan Lingyu biopic, which Zhu Shilin being the director, with was about to feature Hsia Moon to play the tragic Ruan.

Of course, the film project has been abandoned at last, and the actual reason are unknown. However, I'm glad this studio portrait survived, and somehow it give me a precious glimpse on how Hsia Moon might look like as Ruan Lingyu.

Would Hsia Moon successfully portrayed Ruan Lingyu if the film ever being produced? I believe she would be, objectively and subjectively:)

Hokkien Monroe In Nyonya Kebaya - Astonishingly sexy Ting Lan

2009-11-10T18:24:00.000-08:00

Accidentally found this adverstisement in The Companion pictorial, and fall in love immediately!

Look at Hokkien Monroe Ting Lan, dressed elegantly in nyonya kebaya, curvaceously glamorous with a sunshine smile, and not to mention her captivating gaze...

Oh my god, that is astonishingly sexy, stunningly beautiful!

I must watch one of her film in my future visit to HKFA~~

Treasures From Ebay: Forever Bai Guang - Eternally Bai Guang

2009-11-10T16:57:00.000-08:00

It is always wonderful and extremely pleasant to chat with Madame Yang, It made me forget the existence of time.

A progressive leftist in 1960-1970s of Malaysia, I truly impressed by her charisma, being sporting, generous, intellectual, rationally witty and open minded, which I have always learnt alot from her.

When comes to movies and art, she is definately an unquestionable enthusiast, whom she also watched wide genres of movies, ranging from silent to contemporary arthouse movies too.

Of course, not to mention her encounter and stories with movie legends, including Bai Guang,

I have came to learnt alot about later-year Bai Guang from her, and from Madame Yang's story sharing, and it is truly interesting to discover that being a superstar and a household name, you have no idea how pleasant and modest Bai Guang was.

Besides that, for 3 times in her life bai Guang suffered a great deal from cancer, but with her ultimate courage and survivor instinct, she overcome and cope with it again and again, and that really inspired me.

Despite admiring her courage and spirit, somehow I feel life seems to be too diffcult for her

but thank god, she found her true love at last.

I still yet to visit Bai Guang's Piano tomb, to pay her my heartfelt respect.

Last but not least, sharing a few treasures found in ebay, especially to all who love and appreciate Bai Guang,

Heroicallly Elegant and confident, these photos were taken in the pinnacle of her career, probably in late 1940s or early 1950s of Hong Kong...

Forever Bai Guang, eternally Bai Guang...

In Memory of Hu Xiaofeng (1924-2009)

2009-10-28T08:51:00.000-07:00

Behind the scene: In fimset of The Bride Hunter (1960), comedic and humorous Hu Xiaofeng and serious looking Hsia Moon

Yet another great loss of Hong Kong Cinema,

Veteran director of Great Wall Studio Hu Xiaofeng, passed away peacefully in Haven of Hope Hospital, Kowloon

Two veteran of hong Kong leftist studio had just departed, on the same month, October 2009.

Hu Xiaofeng started his career in film industry, having discovered by maestro Fei Mu in late 1940s.

Intitially started as actor, Hu Xiaofeng soon change his career path to director, and have become an established director in Hong Kong mandarin cinema,

Hu Xiaofeng and Li Tziang in their wedding banquet, together with Fu Che, Shek Hwei and Hsia Moon

In mid 1950s, Hu married Li Tziang, a celebrated actress of Great Wall Studio, which was discovered by Richard Poh in early 1950s.

Hu was famous for his comedy work, most notably co-directed Shaoxing opera comedy The Bride Hunter (1960) with nowadays Master of Wu Xia novelist Jin Yong,

Also nowadays Great Wall classics, another Hu's successful work of same genre is My Darling Princess (1964), both starring Hsia Moon.

Besides that, Gentleman Who Steals (1963), a fine social comedy of parody, in depiction of dissolution and hypocrisy of upper-class morality, was directed wonderfully by Hu. During its theatrical release, it was in the top of box office success for B&W category in that year.

Hu Xiaofeng, Chen Sze Sze and friend in 1990s

Not to be missed is Hu's House (1970), a critically acclaimed work of early Hong Kong neorealism example.

Over here I would like to extend my heartfelt condolence, especially to Li Tziang,it must have been a tough period for her.

May Hu Xiaofeng rest in peace...

In Memory of Dodo Liu Lian (1923-2009)

2009-10-28T07:30:00.000-07:00

I just came across that Dodo Liu Lian passed away in 20 October 2009.

A veteran of Great Wall that famed for her versatility, Liu Lian has involved in showbiz since early 1940s,

By far, I only had chance to watch to of her movies with Great Wall, and listened two of her songs recorded in early 1950s, and Liu Lian was indeed impressing and fascnating,

For those who are not familiar with her, she was the equivalent of Gao Bao Shu or Wang Lai of Shaw bros and MP&GI Studio.

More about Liu Lian soon, and meanwhile sharing below is an excerpt from Great Wall Classic by late Hu Xiao Feng (1924-2009) - Gentleman Who Steals (1963) , whom Liu Lian played dissolute Madame Hsia:

May Liu Lian rest in peace, you will always be remembered.

Donde Voy: Chung Ching in her Early Stardom

2009-10-27T20:12:00.000-07:00

Before become the leading lady of Xin Hua Studio, Chung Ching undergone a rather dim period of her acting career, which has been constantly casted as supporting role.

Sharing a few photos from random resource (ebay, Roth's collection), which believe to be from the same series.

Donde voy, where shall I go? That's my description for this photo series, having felt the presences of driftism and wanderism of little wildcat, with a glimpse of little sexy and sorrow

Prehaps at that moment Chung Ching still yet to realise that she could made a breakthourgh later...

Chung Ching: Reminiscence of Glorious Stardom – Only Regrets lingered

2009-10-27T19:41:00.000-07:00

Below are the excerpts from interview by Jiang Yun, published in “Chinese Astrology Study” of 1982, A Hong Kong magazines. Dated more almost 30 years ago, this interview is still very fascinating and appealing, as Chung Ching rarely shared her up close and personal story, from life, career, thought, and also her “daughter”– Ah Fook the doggie.

Simple, natural, and friendly, Chung Ching is now dedicated wholeheartedly in pursuing her career as painter. No longer glamorously dressed, neither rouge applied nor jewelry wore, Chung Ching still remain elegant and beautiful in her middle age.

Talking about her passion on painting, Chung Ching replied enthusiastically in blush:

“I’m fond of painting since I was very young, but I haven’t had a chance and right environment to realize this dream. Then, I came to Hong Kong in my teen age, and soon I involved myself in film industry. For film career that spanned more than 10 years, I was occupied most of the time. Day and night, one after another, and it led to the deterioration of my health. I’m fed up with acting, just to tired and joyless to keep me on, thus I started painting again, just to paint away my blue. But Guess what, my passion of drawing resurrected, and eventually I just love it so much until I can’t afford to put a halt, and it continues till today…”

It is hard to imagine that beautiful yet darling Chung Ching remains single, how could that be possible? Well, this is just a matter of choice, she just don’t have a thought to get married.

Despite of countless admirers that gone after her before, she could have chosen one of them, but why Chung Ching chooses to stay alone?

In response to this, she said:

“Well, people might think, a middle age woman like me that still remain single, probably might have overshadowed by terrible past in love and relationship, I must clarified that this is not the case. In fact, I’m indeed have rather wonderful and smooth relationships before. Choice to remain single, I would say, could be attributed to the influence of my mother, ”

“My mum is a tough and determined woman, she left my dad soon after she found out that dad has an romantic affairs with others. I was brought by her to Hong Kong, and to be frank, life hasn’t being easy for a woman to strive for living by herself, especially with a daughter besides.”

“Men suck, that’s what mum told me always. Hence, I have always placed an ultimate expectation towards my admirers, and exclusively picky. However, I don’t deny that being a sentimental girl, especially when I was vulnerable and feeling fragile, I really think that someone has been very caring and nice to me, and thus urge of getting married grew stronger…”

“Why not get married, I want to settle down, that’s the thought that once governed me that time.”

“However, as time goes by, I discovered that they are not as ideal as I thought, Hence, I left them determinedly without looking back, not second chance given, to me or to them.

“That’s how I deal with my relationship most of the time when I was young, isn’t that ambivalent?”

“I won’t marry again I suppose, nor seeking for partner, especially in my middle age now. I guess is just too hard for other to tolerate and adapt to my characteristic and lifestyle, and vice versa, I’m already used to have total freedom nowadays, and I’m happy with it…”

Did Chung Ching still reminiscing her glorious past? She replied undoubtedly:

“A past is a past, there are just past tenses. However sometime I regretted, of all 60 movies that I have made, none one of them worth me a retrospect, none one of them was a classic, or even consider notable.”

“I was stereotyped to play the same role repetitively, each time it started so fast, and ended so fast, and again, and again... what I can think of now, is just empty, nothing…”

Wildcat Loves Doggie - Chung Ching and Ah Fook in 1980s

2009-10-18T01:30:00.000-07:00

I discovered this in depth interview of Little wildcat, Miranda Chung Ching in early 1980s by chance, published in a modest looking Hong Kong astrology magazine.

Totally unexpected, this interview is indeed interesting, as it gave a first hand detail on how Chung Ching think of her career as actress, as well as blissful life with her painting and her doggie Ah Fook, whom she intimately called it "lui lui" , a chinese sobriquet that a mother dedicated to her daughter,

While getting closer to know the real life Chung Ching, the interview also included numerous interesting photos, believe to be taken during the interview, which consists of a few darling one that I'm going to share here, where Chung Ching was playing and pampering her little girl - Ah Fook.

let me summarize and publish more about this interview soon, stay tune:)

Wonderful posts Chung Ching by Dave:

http://softfilm.blogspot.com/search/label/Chung%20Ching

precious photos of Chung Ching from Gilbert's collection:

http://www.flickr.com/photos/dk_gilbert/sets/72157604726916788/

Ethnic films of Hong Kong Cinema (1940s-1970s)

2009-09-15T22:56:00.000-07:00

Nothing to do with Hong Kong Cinema golden age glamour, comedy or social realism, or even opera feature, but instead this is another relatively exotic but well known theme: The Ethnic films.

(Updating the post soon~~ sharing a publicity shot of Chen Sze Sze in Love Song of Twins 1968, A Great Wall production.)

Bai Guang and Hsia Hou Lan in Taiwan

2009-09-15T22:36:00.000-07:00

Never thought of seeing this rare photo, and certainly never thought of both of my favorite actresses would have this candid together!

It seemed Bai Guang was aware of the camera, but not Hsia Hou Lan, haha.

Thanks to Gong Jianong's Pictorial Memoir, sharing lots of precious stills, studio shots, and private photos from 1920s-1970s, what an invaluable asset to Chinese cinema history.

Brochure? booklet ? Flyer? Let's Get Married All In One!

2009-09-12T23:15:00.000-07:00

At the first glance, it looks like a chinese wedding invitation card...

then when you open it up, is actually a folded movie flyer in brochure design!

The bittersweet comedy directed by Zhu Hong's husband Chen Jingbo (whom also directed Golden Eagle in 1964), script written by Bao Fong, this is also a movie that I have been dying to watch for ages, again the survival status remain unknown...

Ok, let's back to the flyer:

The wedding invitation card cover, the small chinese language poster, and the cute English ad at the back,

How about the other side?

Here you go! Synopsis, commentary, news surrounding the movies~~again all in one!

The most unusual movie flyer of that era I ever seen, just to share with you all, courtesy from Roth's collection,

Thanks Roth!

Bonus: another version of flyer in conventional design, with Malay language summary:

Chinese Tarzan and Jane - Pang Fei and Lai Cheuk-Cheuk

2009-08-05T06:48:00.000-07:00

Thanks Yang Yang for sharing this wonderful picture, as featured in the cover of The Chin Chin Screen.

The adventures of the Chinese Tarzan (1939), featuring Lai Cheuk-Cheuk, the quintessential modern girl in Old Shanghai screen, as the Chinese Jane, while Pang Fei, the Tarzan of China!

Lai Chuek Cheuk Vs Maureen O'Sullivan, and Pang Fei Vs Johnny Weissmuller, emm, interesting though~~

Enjoy!

"Look at me Dev" - My Own Private Hsia Hou Lan

2009-08-01T00:16:00.000-07:00

This is my best love Hsia Hou Lan's photo.

An extreme rarity itself, I must express my heartfelt gratitude to the courtesy of Roth for his kindness to share this photo.

I still recalled When I first saw it about a year ago, I was simply stunned and speechless, something beyond words was captured in it, that enchanted me and curiousify me.

It is not solely about the great quality, the angle, the Eurasian charm, the size and the styling of it, but there was something more in depth till the spiritual level as if Hsia Hou Lan conveyed to me through her determindedly dignified and magneticly sexy gaze,as though she was saying:

"Look at me Dev, that's me, Lemniski Helen Hsia, I am what I am, and I shall never regret!"

It was funny and bizzare though, probably you think that I'm insane or somekind of freak, but I somehow feel like becoming a psychic medium, establishing a certain connection with the unexplained aura of this photo, and I'm just telling how i felt in a sincere manner.

For those who might aware of my previous post about Hsia Hou Lan, you would learn about her rise and fall, as well as her loyal love and commitment to Yu Cong, that really touched me profoundly.

Most of her films are persumably lost, and the only one that is available in DVD is Forbidden Tales of Two Cities (1975), directed by Li Han Hsiang.

Most probably her last feature with in silver screen, her status has remain unknown nowadays.

The trailer of Forbidden tales of two cities (thanks wing4love)

I understood from Dave earlier that HKFA did hold a copy of Burning Passion (1956), and of course this going to be my compulsary must see in the upcoming visit to Hong Kong!

Hopefully you are doing well Helen!

More than Just a Siren - Helen Li Mei

2009-07-31T22:29:00.000-07:00

Recently Dave has given Helen Li Mei a wonderful revival and tribute. Besides interesting photos, precious information on the Jantzen Swimsuit Affair are equally wonderful!

great job Dave!! and thanks for Oldflames for the wonderful sharing too:)

Before becoming a great fan of Li Mei, I first learnt about her from my mother verbally, who always described her as "sexy, devil-ish adultress" which was no doubt due to her sexy image and typecast in most of her movies.

However, thanks to the re-release of partial Cathay classics to market as home video since 2000s, I finally able to watch more of her films, and was truly impressed by her refined quality as a versatile actress.

In Between tears and laughter (1960), her potrayal as the alluring novel writer that caught in the ambivalent of relationship, strunggling between sense and sensibility, has truly an eye opener. furthermore in For better... for worse (1959), I'm truly amazed that she could de-glamourize herself so thoroughly, and transformed to an implcitly modest and repressively sorrowful re-married lady. Her performance was so captivating and convincing, that it won't remind you of the sensuous Helen as she used to be~

Among the sex symbols and also the actresses of the same era, there is one vital quality that only unique for Li Mei, the intactness of femininity and womanliness.

Roth did recall in the interview with Jeanette Lin Tsui, whom has described Helen as "Every inch a woman", which you could see the testimonial from her own colleague too.

Well, that's all for the moment, as usual, sharing some of Li Mei's photos here, including her persumably first cover shot in her career with Great Wall Pictorial.

Li Mei In Between tears and laughter (Thanks Michelle)

Grace Chang and Her Leopard Print Swimsuit

2009-07-31T22:02:00.000-07:00

Sharing above were the photos found in ebay.

Stunning and striking, Grace is definitely sexy and appealing, while remain vivaciously elegant as always.

More interesting stuff and detailed info about Grace in Dave's blog.

Mimi Han Ying - The African Goddess of Mercy

2009-07-31T18:57:00.000-07:00

Well, the nickname might sound funny and weird, but this is what I get to know from Screen and Stage Pictorial.

it could be attributed to her relatively darker skin tone I supppose.

Similar background to Christine Liao a.k.a Mao Mei , the daughter of studio's manager Yuan Yang'an, Han Ying is daughter of the Feng Huang Studio General Manager Han Xiong Fei.

Though her debut is with Feng Huang, However, first half of her career was with Xin Xin Studio (Studio established By Yuan Yang'an after he left Great Wall). Always casting alongside Boss' daughter Mao Mei, she occasionally being casted as leading lady with Guan Shan in some features too.

As soon as Xin Xin Studio dismissed, Han Ying joined Feng Huang again, and she was the most celebrated leading lady in the Studio after Sugar Lady Zhu Hong.

Will write more about Han Ying soon:)

Before that, have some glimpse on Mimi in the rare movie clips below, (thanks Shuesik)

Han Ying in FOREST RIDERS (1964)

Han Ying's Cantonese feature Her blood-stained shoes (1962)

Ageless Sharp Cat Eyes - Li Li Hua's Eyes from 1940s-1990s

2009-07-31T16:41:00.000-07:00

This is a rough cut montage comprising of Teresa Li Lihua's eyes, from her photos found in different era.

Li Li Hua has undergone a few reincarnation in her long running career, that finally earned her the publicly recongnized sobriquet " the Evergreen Tree of Chinese Cinema".

Youth is closely related to appearence, and most prominently in Chinese cinema, Youth is the greatest asset and capital for an actress. There are rarely actress who could be still playing leading role while reaching 35, but Li Lihua could be by far the only one who manage to go beyond the norms and stereotype, and her ambitious career mind and strong willed to keep young in competing with actresses of younger generation, has been a miracle.

No doubt, she is truly the celestial Empress of Chinese Cinema.

No matter how great the medical science evolved, there could hardly for mortal to outrival the natural process of Aging, Teresa was not an exception. However, one thing that never change, her cat eyes; from 1940s to 1990s, is still sharp, bewtiching, and dignified, as she first appeared beyond the audiences in Shanghai in 1939.

Of course, her legacy and legend, has been immortalized.

Last but not least, Long live the Empress, God bless the Empress!

Showcase below are Li Li Hua in different period:

1944 - Noroshi wa Shanghai ni agaru (Thanks Gosfilmofond)

1947 - The Three Women (Thanks Shuesik)

1955 - THe Conquest of Lady balsam

1956 - Dangerous beauty (Thanks Shuesik)

1958 - China Doll (Thanks Dave)

1960 - Empress Wu Zetian

1964 - BETWEEN TEARS AND LAUGHTER (Thanks KhonTeochew)

1973 - THE FATE OF LEE KHAN (Thanks KhonTeochew)

Hsia Moon Getting Wild in 60s

2009-07-23T08:29:00.000-07:00

Being a devoted Hsia Moon fan, I could remember almost every single styles and fashion Hsia Moon showcased in studio shots and movies

Crazy isn't it?

Besides Qipao (Cheongsam), Hsia Moon can be sexy, elegant, sunshine, sorrowful, bewitching, noir, classic, modest, progressive, pretty boy, vivacious, repressive and even in two piece bikini swimsuit. however, I must say this one is no doubt a rare one among her styles, a portrayal of vivid wild girl in mid 1960 styles.

The Unforgiven Rebel of General's Daughter - Ai Li

2009-07-23T07:12:00.000-07:00

She used to be famous, her courage and boldness was controversial, that eventually led to notoriety, and at last she faded away so quickly and dramatically, as no one would forgive her audacious rebel, that has gone too far beyond the norms of chinese society of that moment.

Passed away so hushly in Los Angeles in 2004 a the young age of 57, it was quite hard to imagine that she was once the most controversial and notable figure in chinese cinema scene of mid 1960s to early 1970s.

Ai Li's surname was Wang, her father was a high-rank KMT general while her mother was the Taipei Council member.

Ai Li first appeared as supporting cast in Li Han Hsiang's Dodder flower (1965), and her captivating performance in The Monument of Virtue 1966 (dir: Li Xing) gained her a promising New Actors award in 14th Asian Film Festival.

A bright rising star, she further rocketed to stardom in her most memorable role in The Unforgettable 1967, it was said to be a massive hit at that time, that making Ai Li among the most well known Taiwanese star.

However, an unusual decision, changed Ai Li's entire life.

In late 60s, Ai Li posted for the Playboy Magazine in the US, and soon this has become a highly publicized scandal. No one would accept the jade girl of Taiwan cinema suddenly turned into the sexy nude model of the Playboy magazine.

The condemmn and intolerable critics from mass media and public are so immense that it finally led to a disastrous consequence, especially to her established film career.

As a result, her celebrated fame ruined among the chinese moviegoers, and she later turned to a sexy actress in early 70s of Hong Kong, but the playboy incident has overshadowed her so profoundly she no longer enjoyed the popularity she used to be.

In mid 1970s, Ai Li married and eventually migrated to the US which marked her retirement from the cinema.

Before I ended this entry, just in case you might be interested, why I'm writing about her?

I never really watch any of her films, nor I was really fascinated by her appearence.

Well, It all started with the long-running celebrated Taiwanese Dialect TV drama, that share the same name with Ai Li's most memorable feature the unforgettable, which reminded my mother of her, and told me what she knew about Ai Li, and thus, this entry is born.

Just wondering, Was she the first major chinese star to post for Playboy magazine?

Well, I wouldn't know for the moment, but I do respected her incomparable courage though.

Whatever negative impact later was just because an avant garde decision made in wrong era.

May she rest in peace.

Pop Art and Wang Danfeng

2009-07-19T02:05:00.000-07:00

Well, showocase here are two magazine (The East Pictorial and Kong Ghee Magazine) covers, both featuring darling Wang Danfeng of same photo in different tinting.

Look at the color scheme used, it somehow reminds me of Andy Warhol's Popism with vintage celebrities of Hollywood.

However, these two magazine are published in early 1950s.

At that moment, Wang Danfeng was a highly celebrated leading lady of Chinese cinema, and was making films in Hong Kong, particularly with Great Wall and Da Zhonghua Studio, before she decided to go back to Shanghai.

Well, scene of Hong Kong Mandarin cinema would be different if Wang remained in Hong Kong to continue her acting career.

As one of my beloved actress, I guess I should write more about Wang soon in English~~~

Wang Danfeng sings in The Stormy Night 1949, thanks Shuesik

Days of Being Wild – Madame Mao in her 'Blue Apple' Era

2009-07-16T09:11:00.000-07:00

In contemporary Chinese history, Jiang Qing (江青), or better known as Madame Mao, was no doubt one of the most notorious figure, being the chief of “Gang of Four”, she initiated Cultural Revolution, which brutally traumatized the entire mainland.

However, before she becomes Jiang Qing in Yan'an, she was Lan Ping (蓝苹 - literally means blue apple) in Shanghai cinema, the scandalously controversial starlet that appeared in several of features with Denton and Lian Hua Studio as supporting cast, from 1935-1937.

Miraculously, despite massive number of cultural treasures being destroyed during WWII and Cultural Revolution, most of her films survive, and have been available as DVD/VCD.

Sometime I did wonder, while cruelly deliberate in demolishing traces of her past, did Madame Mao somehow purposely preserve her own films?

This entry is definitely not a tribute to her, but just to share some of Madame Mao stories and photos of her bittersweet yet mischievous “Blue Apple” era.

From jealousy to Vengeance – Rivalry with Wang Ying

Wang Ying in the 30s

Wang Ying was one of the most prominent and talented actress, both stage and screen, in mid 30s of Shanghai.

In 1942, after being appointed by Zhou Enlai, Wang Ying began to tour the US with husband Xie Hegeng. They befriended Pearl S Buck, performed the famous play Put Down Your whip in English version, while promoting Chinese cause for WII around the US. One of her highlight during this period was her successful and well received performance in the White House, whom audiences included Franklin D. Roosevelt and Eleanor Roosevelt.

After WII, Wang Ying remained in the US, and the couple only returned to China in 1955.

Wang Ying and Lan Ping collaborated in Denton classic: God of Liberty 1935

As soon as Cultural Revolution started, Jiang Qing has personally demanded special punishment towards Wang Ying. Tragically expected, Wang Ying did not survive and eventually passed away in 1974 during her custody.

Why is it special here?

It all started with the envious hatred back in 1936.

Wang Ying and Lan Ping in comic, from Denton Pictorial

In 1936, ambitious but relatively little known Lan Ping desperately strived for the title role of movie Sai Jinhua, whom she lost the competition at last to Wang Ying, one of her friend and colleague in Denton Studio.

Wang Ying and Lan Ping in the 30s

Jealously disappointed and ashamed, she never forgives her rival, and that was why the special punishment was demanded after 30 years, as an ultimate revenge towards Wang Ying.

Myth or Fact – Secret behind Liu Haisu Forbidden Portraits

I love this article's first paragraph in describing Liu Haisu:

He was a painter, an art teacher and an artistic rebel. Liu Haisu (1896-1994) was a brilliant artist who used his unique blend of European and Chinese techniques to revolutionize art education in China.

Concise and precise, Liu Haisu was no doubt one of the greatest masters of Chinese contemporary painting, especially his pioneer in organizing painting course to use live models in nude in China at the Shanghai Art School.

In his biography Cang Hai published by People's Literature Publishing House, the author claimed that in his interview with Liu in 1983, Liu recalled that Lan Ping become his model in the 30s, which he produced two acrylic portrait for her, resembled the posture of The Grand Odalisque by Jean Auguste Dominique Ingres.

Though seeing a number of anonymous users in Chinese online forum displaying the images, which claimed to be nude portraits and sketch of Lan Ping by Liu, but it was said that the original portraits burnt to ashes during Cultural Revolution as mentioned in the biography.

Myth or fact, or simply just a rumor created in line with marketing strategy, no one could really prove this, but from my opinion, from the traces and stories surronding her early life, there could be possibility for Lan Ping to become Liu's model, as she was no doubt an impudent modern girl of Shanghai City with progressive mindset, that could go beyond the social norms.

From Lan to Qing – Metaphor of her Sky-High Ambition

Why the stage name Lan Ping become revolutionary pseudonym Jiang Qing?

It was said that the idea comes from the proverb QingChuYuLan (青出于蓝)， which literals means - The blue dye(青) extracted from indigo(蓝) is bluer than indigo itself.

With this she was wishing determinedly that the new phase of her life would finally succeed her unhappy and unfulfilled Blue Apple era.

The journey of becoming Madame Mao then began…
A photo of Lan Ping, peforming Beijing Opera:The Fisherman's Revenge in Yan'an. It was said that Mao Zedong first noticed her from here, and since then her life changed.

Sharing below is video excerpt of Lan Ping in Lianhua Symphony 1937:

(photos featured here primarily comes from Ling Long, Kongfz archive)

Ladies From Cathay

2009-07-14T03:24:00.000-07:00

More sharing, these two photos were taken in Kuala Lumpur late 1950s.

Look at the gorgeous and elegant ladies from MP&GI Studio (or Cathay Organization)

Can't stop reminiscing their glorious era, which will never comeback.

By the way, do you notice someone crucial has gone missing?

Where is Grace Chang and Linda Lin Dai?

Well, Grace was in Japan at that time while Linda still in the US.

MP&GI Leading Man and Leading Ladies in Portrait

2009-07-14T02:58:00.000-07:00

Take a look at this~~

Zhang Yang in front of the portrait of three girls - Grace Chang, Lucilla You, and Julie Yeh, while holding the script of the Sun, Moon and Star , the MP&GI classic directed by Evan Yang.

Persumably the publicity shot for the movie itself, I kind of love this photo, I think it was iconic as it represented MP&GI Studio in its glorious era.

Esther Eng and Her Flamming Passion - Featuring Chinese Gable and Lamour

2009-07-13T22:04:00.001-07:00

This is quite an interesting finding while I'm browsing through Screen Voice published in Singapore late 1940s.

Flamming passion 1949 (literal translation from Chinese source), a technicolor feature by US Silver Light Film Co (literal translate from Chinese source too), directed by pioneer female director in Chinese cinema Esther Eng, featuring technicolor King (or dubbed as Chinese Gable) Liew Kei Wai and Chinese Dorothy Lamour (a.k.a Chinese Sarong Queen) Siu Fei Fei.

I try to find further detail about it in HKFA, apprently no entry about this movie. The only trace I manage to find is an article about Esther Eng translated by Law Kar from English text by Frank Bren.

Siu Fei Fei of Cantonese opera background as native Hawaiian Girl, and furthermore, filmmed in Hawaii itself!

Chinese Orientalism with Polynesian blended exoticism~~~~emm, quite a combination though :)

More about Esther (Thanks Frank!)

Kimono and Vintage Chinese Actresses

2009-07-09T18:56:00.000-07:00

Connie Chan

You Min

Ouyang Shafei (the man behind is Chen Tian Guo)

Pak Yin

Helen Li Mei

Grace Chang

Li Li Hua

I believe most of you have seen Memoir of Geisha (2005), and the decision to have Zhang Ziyi, Gong Li and Michelle Yeoh to play the leading roles, has even create a stir on whether should Chinese actresses play Japanese geisha.

Emm, to be exact, we are not going to comment or discuss this issue politically and socialy.

All I want is just to showcase a few photos ranging from late 40s to 60s in Chinese screen, where the leading ladies of silver screen dressed in Kimono.

(source: all the photos above are finding from ebay archive, except for Connie Chan's photo - Courtesy from Oldflame's archive)

Enjoy!

Expressive Ruan Lingyu

2009-07-08T22:31:00.001-07:00

Just simply love these two scans, Lingyu was cute and truly expressive!

Scanned from The Ruan Lingyu pictorial published by China Filmmaker society in late 80s,

Hope enjoy!

You Min's Debut Love in The Bloom - Does it released before?

2009-07-08T09:47:00.000-07:00

Recently there are quite a number of rarities found in ebay, which include this one: the movie synopsis of Love in The Bloom 1952.

What is the significance of this movie then? Well, short and sweet, it is MP&GI movie queen /Jade Girl - Lucilla You Min’s debut.

According to HKFA, as well as most of the sources, this movie has never released. Or in other words, no one has seen Lulu’s debut.

I did consult and discuss this with Roth before, and he recalled that from those movie news and article he read, he actually came across two statements:

You Min with director Yang Gong Liang in the set of Love in The Bloom 1952 ,

After the film completed, Runde Shaw watched it and felt that it was far beyond expectation, thus he ordered not to release it.

The film was first release in Malaya (both Peninsular and Singapore), and it was not well received, thus the management has decided not to release it in Hong Kong.

Well, which is historically correct?

From my point of view, only movie that has released before would have the movie synopsis.

The poster of Night and Every Night 1953 in Cathay theatre, Hong Kong

For example, Great Wall production Night and Every Night 1953, was a feature release in Hong Kong at 20 May 1953 (above is a picture), and a copy of movie synopsis was kept in HKFA. However, this feature never released in Malaya and Singapore, according to Great Wall Pictorial.

Hence, until my observation by far, I still did not observe this movie synopsis comes out from Malaysia and Singapore , either from any memorabilia seller, or collector that I know of .

Of course the final say to need to come from more proves and facts, from a more authorized evidences or records.

You Min in her early stardom (Roth Private collection)

No matter which statement emerges to be the historic fact at last, I believe it must be a great disappointment to Lucilla You Min, poor Lulu ~~

Linda's Photo Retrospective 1964

2009-06-30T03:00:00.000-07:00

To commemorate the donation of Lin Dai's personal artifacts by her son Lung Tzong-hann, Hong Kong Film Archive is presenting The Legend & The Beauty - The Films of Lin Dai, a special retrospective deidicated to her, screening eighteen of her films, as well as exhibiting movie queen's artifacts.

From her final note, though it seemed that the cause of suicide was somehow "trivial" and her death seemed "unintentional", but Lin Dai's death was undeiniably a tremendous loss to Chinese Cinema, and thus transcended her status to the everlasting movie legend.

Sharing with this entry is a news reported in The South East Asia Weekly 1964, about the grand photo retrospective being held for Lin Dai, which was officiated by Lucilla You Min. I believe this could be the very first Lin Dai's retrospective.

More info about Linda on Dave's blog.

More interesting and rare photos of Linda in Glibert's album

Beachside Chang Lye Lye

2009-06-29T04:24:00.000-07:00

Just to share a photo of swimsuit Chang Lye Lye (张莱莱) , published in Nanyang Monthly.

To know more about her, just visit Soft Film: Vintage Chinese Cinema on Chang Lye Lye entries, Dave has done a great job!

Sharing below is the cameo of Lye Lye in Miss Songbird 1959, the only moving image of Lye Lye I found so far,

The Most Beautiful Woman in Malaya - Maria Menado

2009-06-28T23:11:00.000-07:00

Well, this is an entry that is not quite related to Chinese cinema, but I still think is quite an exciting finding about the 50s renowned Malay screen siren and bombshell, former Sultana Of Pahang State Malaysia – Datuk Maria Menado, a provocative yet sexy photo published in Chinese publication Nanyang Pictorial late 50s (from Roth Private Collection).

Dubbed as The Most Beautiful Woman of Malaya by Times magazine and the best dress lady in South East Asia by United Press international 1957 (quoted from the entry: Maria Menado – Wikipedia Malay). In my eye, Maria is no doubt the Diana Chang of Malaya.

Maria was born Liesbet Dotulong in 1932 in Menado, North Sulawesi, Indonesia. All the while I presume Maria Menado was a stage name after she becomes an actress. However, according to Wikipedia entry, it actually means Maria from Menado, her birthplace, and Maria is a nickname she inspired from the incident of Maria Hertogh riots, due to her profound interest with the Dutch girl Maria Hertogh of this highly controversial case.

Maria first started as fashion model in Singapore, which her beauty captured the attention of Shaw borther studio, and was offered her debut in Penghidupan 1951, casting alongside with Malaya top actor P Ramlee. However, the films that rocketed her to stardom and fame was actually the succesful horror feature Pontianak 1957, story about female vampire in Malay folkmyth with Cathay Keris Studio.

There are more behind the scene stories about this film which you could read more about it at: Famed foe, the pontianak.

After several features with Cathay Keris, Maria did ventured into film production, establishing her own studio called Maria Menado Production (M. M Production), and produced numerous features with herself as the leading lady. She is significant in Malay film history as the first Malay female film producer.

This is yet another interesting cover from The Straits Times Annual 1957 found in ebay, featuring Maria in Sarong as cover girl.

Besides that, Dave did post an interesting entry with video clip about Bollywood- Hong Kong connection, mentioned the Hindi film Singapore, and Maria was participated in that film too.

Well, that’s all about Maria in this entry:)

Youtube clip (thanks nashiqim) featuring Maria Menado in an excerpt of:
Sultan Mahmood Mangkat Di Julang (1961)

Ads with 50s HK Actresses in Nanyang Pictorial

2009-06-28T08:11:00.000-07:00

Lucilla You Min with Lux Soap
Chung Ching with Johnson & Johnson Modess

Fanny Fan with Dunlopillo (or just Fanny lookalike, em Dave, what do you think?)

Linda Lindai with Lux soap

Feature above are some of the B&W ads I found in Nanyang Pictorial of late 50s (Courtesy from Roth Collection), which i would like to share with you to welcome July 2009.

Enjoy!

The Willow Waist Pop Diva – Ruby Wah

2009-06-27T21:29:00.000-07:00

Watched The Lark 1964 recently, a star vehicle for Carrie Ku Mei, and also the only first bill feature for her during her Shaw Studio period.

Besides appreciating Ku Mei’s beauty and songs, you also notice a lot of stars-to-be like Yueh Hwa, Cheng Pei Pei, Lydia Sum appeared in various scenes, and most importantly, there are lots of cameo appearances of the celebrated Chinese pop singers, including nowdays Sir Run Run Shaw’s spouse Mona Fong, Poon Sau Kheng, Lan Di (sister of Chang Lye Lye), as well as Ruby Wah (华怡保- Hua Yi Bao in mandarin pronunciation), performing hits and dances, which I consider this to be among the earliest samples of MTV for Chinese pop.

Opps, has been talking too much as usual, Well the lady that I would like to introduce in my post today is no other than Miss Hua Yi Bao, or Ruby Wah, one of the most celebrated mandarin pop singer, with career spanned from 50s to 80s.

Born in the state capital of Perak- Ipoh, Malaya (same birthplace as Michelle Yeoh), and was given the first name “Yi Bao” , as she was born in Ipoh (怡保- “Yi Bao”, is the Chinese name for the city of Ipoh ).

Ruby’s mother, who was also a singer in the era of pre 1949 Shanghai, has led an art troupe named Vast Land, and she influenced and formally trained 5 years old Ruby in her art troupe, including dances, singing and ballet.

At the age of 7, she has already made her maiden appearance at stage, and gradually, talented and beautiful Ruby established herself to be one of the most popular Chinese singers of Malaya and Singapore in the 50s, alongside with Chang sisters (Lye-lye, Lan Di, Lye Mei), Zhuang Xue Fang, Poon Sau Kheng, Woo Mei Ling and etc.

In 1962, Ruby attempt to advance her singing career to Hong Kong and Taiwan, where she performed in prestigious night clubs and hotels, as well as recorded songs with Pathe Studio Hong Kong.

Soon, her talent was noticed and recognized, and her fame built among the Hong Kong and Taiwan audiences, according to an un-cited source, besides several recordings, (including English albums), at the peak of her career, Ruby performed in several Hong Kong clubs and hotels concurrently, and has said to be full-house every night that last for almost 8 months!

Just for information, Chinese pop maestro Yao Min, has exclusively written a coloratura piece for Ruby Wah in the 60s, named the drizzling east hill and sunny west hill, which has been quoted as one of the 1960s finest masterpiece of Chinese pop, in The Age of Shanghainese Pops 1930 to 1970 (with 1 CD).

Personally this song has been one of my favorite Chinese oldies too.

Ok, we now briefly know abut her career track and her talent, but why she has a darling sobriquet “Willow waist Pop Diva”?

Margaret Mitchell once described Scarlet o Hara in Gone With The Wind, saying: “The dress set off to perfection the seventeen-inch waist, the smallest in three counties . . .” believe it or not, this is the real waist size of Ruby Wah in 60s, and it has frequently become the focus of media, as well as one of the best advertising point for her. It was said when Ruby first performed in Taiwan in 1963, magazines and the organizers has launched a contest on “Guesssing Miss Ruby’s Waist Size”, and it has been a sensation!

Ruby never formally involved in showbiz, unless for the only cameo in Shaw Bros The Lark (1964), which you can now have a better idea on how tiny her waist size could be. Besides that, she has invited by Li Han Hsiang to become the theme song performer for Guo Lian Studio features - Dodder flower 1965 and Xi Shi 1966.

Ruby has an unhappy marriage that ended up in divorce, she disappeared in public horizon for several years, and was once rumored to have departed from suicide, but luckily the rumors doesn’t turned to be a fact.

Ruby did suffer a great deal from this unhappy relationship, but glad that she recovered at last.

Ruby formally announced her retirement in early 70s as a recording artist, and turned out to be private singing teacher in Singapore. However, in the 80s, she made a comeback, after being invited by Taiwan Television Enterprise to host a TV programme named “Time with Ruby Wah” that run for 13 episodes, and has issued by far her last record – The Shanghai Night, comprising of some golden Old Shanghai hits.

It was said that Ruby was now residing in Singapore, still occasionally appear on stage as special guest, and from the information that I could access so far, her latest performance happened in Taiwan 1996, in the concert of “Golden Hit 50 years”.

Well, does Ruby Wah still maintain her willow waist?

I’m not sure of course, but from a source dated 2001, it was said that Miss Ruby still possesses a waist size of 24!

Zhou Xuan in Manchu Costume - 1940

2009-06-25T07:35:00.000-07:00

Thanks to my buddy Yang Yang from Tian Jin for sharing this.

Whether Yang Yang is the youngest Zhou Xuan Fan still yet to confirmed, but no doubt he is absolutely the most fanatic, expert and adorable Zhou Xuan fan on earth.

This is a gem he found in a chinese auction website, and I was stunned looking at this rare finding.

Though the tint is brief and frail, but somehow it is miraculously fasicnating, like a vintage mantilla veil being worn, and needless to say the legendary tragic songbird looks vivacious and sweet in Manchu costume.

Well, it is almost certain that this is the publicity shot from her early Qing Dynasty costume drama with Guo Hua Studio - Dong Xiao Wan.

In 1947, Zhou Xuan starred as Concubine Zhen in Zhu Shi Lin's Sorrow of the Forbidden City with Yung Hwa Studio Hong Kong, which she appeared again in Manchu costume, the leading man is still the same as Dong Xiao Wan, the suave Chinese cinema leading man of 40s, Shu Shi.

Below are the clip shared by Shuesik, in a scene of Sorrow Of Forbidden City 1947, where Zhou Xuan sung Wish of The Misty Royal scent:

1940 was the year the photo captured, and now is 2009...

The photo is almost 70 years old now.

However, Zhou Xuan's beauty sealed here, still earverlastingly charming, and never fades...

Woo Fung and Tang Pik Wan in 1954

2009-06-25T06:24:00.000-07:00

Featured above is the cover of movie synopsis - Love's Sad Ending (1954) ,a production of the notable cantonese Studio in 50s - Tai Seng.

The original chinese movie title was an excerpt of an ancient Chinese poem. though might seem abit simplsitic in its official English title, but literally it actually means "amourously sentimental always voided with endless regrets" (after cracking my head for sometime, and this is the best I could get :( ), I suppose is a tragic love story then~~

Arrh, forget about the long winded title,look at the cover, such a vivdly captivating photo, but who is the actor and actress on the cover?

They are Woo Fung and Tang Pik Wan in 1954. Woo was 22, while Tang was 28 at that time.

I first knew them when I was still a child in 80s, spending lots of time watching Hong Kong TV series, before I came to learnt their glorious past in golden age of cinema.

Well, both of them have very long running career,

for Tang Pik Wan, her career started from Cantonese opera stage in early 40s, then silver screen, and then TV, most notably for her character as "Madam Ma Da", only force to put a halt when she passed away in early 1991.

while for Woo Fung, whom was the new actor brought up by Tai Seng studio in early 50s, still occasionally can be seen in Hong Kong TV series even after 2000.

it has been almost 20 years Tang Pik Wan passed away, and is also has been quite awhile since I last saw Woo Fung in TV, hope he is in the pink of health.

Are you sure she is Hung Sin Nui?

2009-06-24T22:52:00.001-07:00

If this is not Hung Sin Nui, who else she could be then?

For those who familiar with Chinese opera, no one would ever deny that Hung Sin Nui(红线女, literally means Red String Girl)is the Master of Cantonese opera（粤剧）. she is a genuine artist, developed her very own "Nui" style(女腔), establishing The Hung School, and has contribute a great deal to this art form, which she dedicated herself passionately and entirely, without regret.

But when I saw this cover shot of in T'ien hsia Illustrated Magazine, I was quite amazed on how sassy, shockingly sexy and fahsionable Hung Sin Nui could be, during her film career era in Hong Kong. The styling somehow even reminded me of siren and sex symbol like Marlilyn Monroe and etc...

A legendary figure, Hung Sin Nui leads a dramatic life, no matter her marriage to Ma Si Tsang(马师曾) her love affairs with Huang Ho(黄河), her choice to left the successful film career and wealthy life in Hong Kong, and returned to Mainland China to pursue her high ideal for advancement for her beloved opera, as well as the indescribable turbulence and controversial political position during cultural revolution, and then the flee-away of her daughter to Taiwan in early 80s~~

Just share this rarity found in ebay sometimes ago, and in future hope we have chance to talk more about this living legend...

Hong Sin Lui as village girl singing - Peach blossom (clip from hkgalbert)

Regally Oriental - Lai Yee in Red Silk Cheongsam

2009-06-24T22:21:00.000-07:00

Found this photos a couple years ago in ebay, and needless to say it is truly mesmerizing, and I really love it very much

Just to share with you my most favorite photos of actress Lai Yee.

Wonder who Lai Yee is?

don't worry, Dave has done a great job, not only providing bio details of her, but also some truly rare video clips during her early stardom in Hollywood.

Well done Dave, and thanks alot!!

If you fascinated by this beautiful US born Chinese lady, just follow this link to Dave's blog...

You simply can't afford to miss the story about the technicolor queen of Hong Kong!

Found Lan Ying Ying

2009-06-24T22:03:00.000-07:00

It was quite a surprise when I read this comment by Linda eariler in my previous post about Lan Ying Ying..

The comment says:

Lan Ying Ying was my mom. She passed away 10/21/1998. I would greatly appreciate if someone would direct me to a resource where I can obtain copies of her films. I, and her 3 grandchildren have never seen any of her films. any help is appreciated.

Finally Lan Ying Ying was found, though the blue warbler has left the mortal world for about 10 years ago...May she rest in peace...

Anyway, Linda has said that she will post some photos of her mom and dad and their grandchildren in future,

Thanks in advance Linda!

For the flyer of Lan Ying Ying official debut, please check out Dave's entry about Lan Ying Ying

Behind The Red Umbrella - The seduction of The Virgin Starlet

2009-06-24T21:28:00.001-07:00

Look at this lady, isn't she has gone abit wild?

Well, this is not a dicussion of her wilderness, but instead this rather flapper-ish photo is the prelude for me to introduce the little known Miss Lee Fang Fei(李芳菲), in the cover of the East Pictorial in mid 50s.

Miss Lee was dubbed the "virgin starlet", which how the sobriquet being obtained still remain unknown, but from Gu Mei's autobiography, she revealed that one of her ex lover in mid 50s, was actually the former husband of Miss Lee, before the guy dated Carrie...

Miss Lee started her career somwehere in post war Shanghai, and then continued her career to Hong Kong. Frequently appeared as supporting cast in some independent mandarin productions during 50s, Miss Lee always appeared in sexy post in photos seen in magazines of that era, including this one too~~

In late 50s, Miss Lee married to a wealthy guy in Hong Kong, and she was rarely heard or seen since then~~

Thanks Roth for sharing this rare pictorial's cover

The Grand Hotel - Old Shanghai Version

2009-06-24T21:04:00.000-07:00

Nothing much about this post, just to share a poster published in Screen Voice late 40s, a production of Yi Hua studio during orphan Island era at 1942, but only screened at Singapore/Malaya in late 40s.

The original title in Shanghai is just simply The Grand Hotel, however, it has been renamed The Shanghai Grand Hotel when it showed in Singapore/Malaya

Though sharing similar title, but the storyline is pretty different, compare to the Hollywood version.

As for the casting, it comprises of the famous actors from the studio too...(Including David Chiang's father Yan Hua)

Well Who would be Garbo and Crawford of this Shanghai version?

They are the celebrated but tragic Shang Guan Yun Zhu, who commited suicide during cultural revolution, and also Lu Lu Ming, 'the Bomb siren' of late 30s~~

Well, that's all for the moment~~

Wang Ying Goes to Washington

2009-05-14T01:54:00.000-07:00

I found this set of photos by surprise, when I was browsing the online image archive of Library of Congress years ago.

Wang Ying was quite a prominent actress, both stage and film, in 30s of Shanghai. She is also the "underground" member of Chinese Communist Party.

It has been widely reported in chinese sources that Wang Ying's 3 years tour to US for performance and Anti-fascist propaganda was a fruitful and highly notable one. I believe some of the photos here did speak for this fact to certain extent.

Well, again a tragic life, she was primarily targeted by Madame Mao (jiang Qing) during cultural revolution, and was badly tortured that eventually causes her death. It seems to be a vengence from Madame Mao, due to a past incident happened back in 1936.

More story later~~~

Hi Dave, any chance you would able to find any archived US news about Wang Ying tours to US in the 40s?

Anguished by the Curse of Beauty – May Choo

2009-05-11T01:45:00.000-07:00

Thanks Dave for posting the enigmatic Yang Pei Yun, which inspired me to initiate the new post for another little known Hong Kong Mandarin starlet in the 50s, the vivacious beauty May Choo.

Both Roth and I were fascinated by the her charming beauty, which frequently seen in calendar and magazine cover after mid 50s, with a thoughtful luminous eyes that speaks a thousand words, as well as her refined side profile.

Despite frequently appreciating her beauty that transcends time, we only knew so little about her, until Carrie Koo Mei came into picture.

In Koo Mei autobiography published in 2006, we realized that May was one of Carrie’s best friends since primary school. From there, we learnt that her life was shadowed by a wrenching guilt that tormented her so profoundly, not even a happy marriage and caring husband later could heal her deep slit beneath the soul.

Born Chen Meiqin (陈美琴) in a big family in Canton province in 1928, May was initially engaged to a married man at a very young age, and was abandoned after bearing two children with him. Single mother that living in rather deprived condition, May finally secured a job as an actress with Zhang Shankun’s Xin Hua Studio circa 1954, stage named as Zhu Ying (朱缨), having appear as rather ignorable supporting roles in a handful of films.

According to Koo Mei, In her Xin Hua Studio period, May was romantically engaged with later famous Chinese author Nan Gong Bo, having touched by his intense courting, but again this married man broke her heart, and she finally ended up with a mental breakdown, and Koo Mei claimed that her condition was not stable until 1958, whom an important man came to her life.

In 1958, renowned Chinese French painter Zao Wou Ki visited Hong Kong, and noticed Zhu Ying, who was playing the role of Concubine Zhen in the stage play of “Sorrow of the Forbidden City”, which later they immediately fall in love at the first sight, married and settled in Paris.

Zhu Ying enjoyed the most wonderful moment in her life with this caring and loving husband, she has recovered from the mental instability, and later this artistically gifted beauty has developed herself to become a sculptor.

However in early 60s, the news of her 13 years old son hit by severe mental illness that ended up in Hong Kong mental institution (according to Koo Mei that May’s son is still with the institution today), has again posted a huge impact on her, since then, having haunted by the guilt that her genetic inheritance might be the culprit of her son’s condition, both May physical and mental health condition has since deteriorated.

In 1971, while Koo Mei was in Taipei, she received a mail from May Choo, and an except of Tang’s poem with dreadful handwriting in red ink was the only content in the mail, stating:

“My heart is ice immaculate, abiding in a vessel pristine”

In early March 1972, May passed away from suicide by medicinal drug overdose in Paris, leaving her exhaustedly over-grieved Wou-Ki behind, which was unable to progress with his artwork for more than one year. Zao later has his mourn and profound love towards May turned into a painting named May's memory, which is now kept in National d'art et de Culture Georges-Pompidou Paris.

In November 1972, the Galerie de France presented an honorary exhibition of sculptures by May Choo, together with colour-washes and drawings in Indian ink by Zao Wou-Ki.

A brief film career spanning from 1954-1958 with appearance in only 9 features, May Choo did have a color feature with Shaw Studio, musical named Colourful Tokyo (1956), As the name goes, the film was shot in Japan, and this appear to be the only leading feature that she has in her brief filmography.

Sincerely hope May’s disturbed soul has rest in peace, you will always be remembered.

Always in my Heart - Ruan Lingyu 74th Death Anniversary

2009-03-07T01:49:00.000-08:00

8th of March 2009, marked the 74th death anniversary of Ruan Lingyu, one of my most beloved and adored actress of Chinese silent screen.

Though Ruan has often being stereotypically portrayed in literature and drama as a tragic and melancholic figurine, however, I love Ruan in her sunny smile, and the impressive vivacious portrayal in her surviving films.

Ruan love to smile, as can be seen from lots of photos, and her smile was appealing and remarkably beautiful.

Here I presented the montage that I created several years ago, to mark my nostalgia towards Miss Ruan.

You will always be remembered in our heart…

The One and Only One –Amoy Movie Queen Zhuang Xue Fang

2009-03-06T10:00:00.000-08:00

Miss Zhuang in late 50s (Source:ebay)

Miss Zhuang in early 60s (Courtesy:Roth Collection)

In earlier post, I have briefly introduced the short-lived Amoy cinema Industry, and also about Hokkien Marilyn Monroe – Ding Lan (丁兰), the renowned yet sexy Amoy siren of 50-60s.

Of course, how could I ever leave her unmentioned – The multi-talented yet attractive Miss Zhuang Xue Fang (庄雪芳), the indisputable Amoy movie queen, together with Ivy Ling Po (whom stage named Xiao Juan (小娟) during her Amoy film career era) and Ding Lan, forming the pantheon of Amoy cinema of the 50-60s.

A Star is Born – South East Asia Era

Miss Zhuang in her teen age (Source:ebay)

Born 4th October 1932, Zhuang Xue Fang is Singaporean (some source cited Malacca born) Chinese of Fujian origin, whom her career of live stage performing began at a very young age soon after WII. At age 14, she was already an established figure of Nanyang (南洋, literally means South Sea – an old Chinese phrase referring primarily to nowadays Singapore and Malaysia and other South East Asian countries) stage/art troupe scene, which this young girl has a beautiful nickname – "The Musical Fairy" . Beside singing and dancing, Zhuang Xue Fang has actually involved in Mandarin stage play since age of 15, which built up her interest and foundation later in film.

Miss Zhuang in her teen age (Source:ebay)

Around her sweet 16, Zhuang Xue Fang has started traveling abroad along with the attached art troupe. At the age of 20, still youthful but already a matured and ambitious girl has actually formed her own troupe under her name- "Xue Fang Art Troupe" and touring across countries, which all her hard work, appeal and talent has paid, making her the household name among the South East Asian Chinese audiences, while enjoying the massive popularity that “transcended” her from "The Musical Fairy" to "Nanyang Musical Queen".

From Stage to Screen – Hong Kong Era

Miss Zhuang in early 60s (Courtesy:Roth Collection)

In 1957, Amoy cinema was flourishing and entering her golden era, and The Wandering songstress (1958) was filmed. Directed by later MP&GI famous director Wong Tin Lam (co directed with Amoy actor/director Hu Tong), this Hong Kong Huaxia Studio production was actually commissioned by Singapore's Eng Wan & Company, and Zhuang Xue Fang has been selected by Eng Wan and become her first leading feature.

Well, The film has turned out to be a hit during it's release and consequently rocketed Xue Fang to her film stardom. After that, many commercially success Amoy features followed, which made her the top box office drawer of Amoy films, and thus crowned her the indisputable "Amoy Movie Queen".

Miss Zhuang potrait, looks like in late 60s from fashion (source: Gospel Profile)

However, little known was that Xue Fang actually has a cameo appearance in Li Hsiang Lan's (Shirley Yamaguchi)Hong Kong feature with Shaw Studio, The lady of mystery (1957), whom she choreographed and performed two classical Chinese dance scenes in the movie.

Miss Zhuang studio potrait early 60s (source: Gospel Profile)

From the trace and success of the career path, her multi-talent and star quality was undeniable, not to mention her multilingual capability, which was cited to be able to converse in 7 languages. In the meanwhile, Zhuang herself also records quite a number of albums, having the discography that comprises of songs in various languages/dialects too.

Screen Romance Becomes Political Nightmare - Taiwan Era

Miss Zhuang portait early 60s (source: ahlap forum)

Well, the story hasn't finished for this business minded yet highly motivated wise girl. Another highlight of her career would be the establishment of the "The Zhuang Film Studio" , filming a numbers of Amoy and Mandarin features, with herself as the leading actress and the producer, while touring around Taiwan cities and towns for live stage performances. The Zhuang Film Studio has a very significant Mandarin production in Chinese language cinema history - Romance at Lung Shan Temple (1962), which was a blockbuster in Taiwan, Hong Kong and also overseas. This feature has also brought up the later famous leading men of Shaw Bros Studio, former husband of Julie Yeh Feng – Ling Yun.

Miss Zhuang studio portrait in 60s (source: Gospel Profile)

However, it was regretted that this feature later become the victim of Cold War politics of that era, being labeled by the KMT government as "Espionage feature, Oversea film project funded by Chinese Community Party", which she was under arrested and interrogated. Well, glad that Zhuang Xue Fang was lucky enough to survive from this incident, both her career and life, but not the film director Bai Ke, which later this prominent figure of early Taiwanese cinema was badly tortured and injured, and eventually passed away in 1964.

Zhuang Xue Fang's singing, film and stage career continues until early 70s, whom she married in 1971, and has her presumably last feature Five Beautiful Witches (1973) filmed in Taiwan. Since then, she retired from entertainment industry and dedicated her life to family, with occasional stage appearance.

Just for information, Zhuang Xue Fang has actually issued two albums in 80s. Well, I was pleased and lucky enough to witness the albums themself and hear the songs, including some of her albums in 60s. Zhuang's little deep, husky and throaty vocal, as well as the sensuality and sentiments portrayed within, has been quite impressive.

A big thanks for Roth for sharing this precious collection.

Nowadays Zhuang Xue Fang – A Brand New Life

Miss Zhuang in 2005 performance in Taiwan(source: Gospel Profile)

At 2004, the 72 years old Zhuang Xue Fang, that was living happily ever after at the moment, was diagnosed to have second stage breast cancer, and have undergone a horribly painstaking chemotherapy treatment. After all the obstacles of life whom she overcome, this determined woman was almost raising white flag to cancer and about to give up her life. However, the patience and full support from Christian friends has actually changed her mind, Zhuang Xue Fang claimed in the article published in Gospel profile online, that she was touched by their warmth and love and then, her Christianization that follow has made her stronger to fight with the stubborn disease.

While 2005 in the midst of recovery, strong willed Zhuang Xue Fang was able to back to the stage for charity and gospel. She appeared in 9 stage performances, singing her golden hits across Taiwan and Singapore, and from the photo we see here, it was hard to imagine that she looked stunningly wonderful and charismatic at her age, especially still in the battle with cancer.

Miss Zhuang pictorial after her recovery (source: Gospel Profile)

Nowadays, Zhuang Xue Fang resided in Singapore, while actively involve herself in charity and community works.

At last, allow me to send my heartfelt best wishes to this magnificent chinese film legend, for you are not just the forever and only multi talented Amoy Movie Queen, but also being the highly respectable and ultimately courageous woman against all odds in life.

The Blue Warbler, The Hong Kong Mermaid– Lan Ying Ying

2009-03-04T06:42:00.001-08:00

In 50s Hong Kong Mandarin screen, there's have been quite a number of leading actresses, whom actually have started their acting career, no matter in screen or stage, way before they migrate from Mainland China.

In today's feature, we are going to see the sensually beautiful Lan Ying Ying (蓝莺莺), stage name that literally means “The Blue Warbler”.

Born Jia Li Ru (贾丽如) and rumored for being a dance hall girl before, Lan Ying Ying has actually debuted as a supporting cast beside Ouyang Sha Fei (欧阳沙菲) in The Tolling Bell of Han Shan Temple 1949 in Shanghai , with the stage name Lan Yin (蓝音, literal meaning: Blue Melody), though she only have her first billed feature in Hong Kong named The Hong Kong Mermaid in 1950, casting alongside with Huang Ho, one of the favorite leading man of that era.

The Hong Kong Mermaid (1950)

As can be observed from movie magazines like Kong Ngee in 1950, as well as cited in mini biography in Greatwall Pictorial Issue 3, The Hong Kong Mermaid has been massively promoted, featuring Ying Ying as cover girl for issues, with surrounding news and gossips, and her concurrent participation in another feature Song in The Rainy Nights, 1950, a nowadays surviving feature that second billed after the famous Bai Guang, has actually built up her fame among the moviegoers of mandarin cinema.

Well, there's a key person not to be missed here, the director for both The Hong Kong Mermaid and Song in The Rainy Nights, Mr Li Ying（李英）.

In early 40s, Li Ying was one of the leading actor of Shanghai, and later participated in fim directing. His former wife was famed actress Gu Lan Jun (顾兰君) , and in early 50, he was the cohabitating lover of Ying Ying.

Misty Hong Kong (1952)

From 1950-1958, Ying Ying appeared in about 20 features with small independent studios, and often portrayed the role of sexy woman and seductive adulteress. From my finding so far from HKFA as well as magazine, The Poisonous Roses (1958), appear to be her last leading feature, whom herself was also the producer.

After mid 50, the production and market for Hong Kong independent mandarin film studios has declined, due to the burgeoning and monopolization of large studios like MP&GI, Shaw Bros, left winged Great Wall and musical producer Xin Hua. Ying Ying did not engaged with any big studio, but instead she married to an American scholar and later moved to Washington DC, which The Happiness Movie named this “the first international marriage” of Hong Kong cinema. Many of them followed: like Liu Qi, Diana Chang, Helen Li Mei, and etc.

The Poisonous Roses (1958)

I wasn't aware of any news or report of Ying Ying until a google search just now for confirmation of some detail, which brought me to HKMDB. Apparently in HKMDB, the cast list of the Cantonese feature Honeymoon 1965 by Fei Long Studio directed by Chor Yuen (楚原), Ying Ying's name is found.

Long forgotten for decades, whether alive or dead, the current status of this Mandarin siren now remain unknown. Only some surviving copies of her films resided in Hong Kong Film Archive would be the only way for you to witness her beauty in her pinnacle of her career.

Merry Christmas and happy New year 2009!

2008-12-22T23:18:00.000-08:00

Together with this vintage greeting card featuring Linda, I would like to greet all of you Merry Christmas and Happy New Year 2009.

I will be away until early next year for my holiday~~

and of course, I promise there will be More interesting entries next year~~

All my best wishes to all of you !(Especially to Dave!)

When Roy and Diana met on the beach

2008-11-30T20:45:00.000-08:00

Accidentally came across an article in Happiness Pictorial named Health and Beauty, that featured both Roy Chiao and Diana Chang on the Beach~~

Surely this would be the best remembered cheesecake and beefcake photo in 50's Hong Kong .

The Bathing Beauty - Guess Who

2008-11-25T15:27:00.000-08:00

Recently Dave's blog has become somehow "steamy and hot", with the presence of Chinese Bridget Bardot - Fanny Fan.

Over here I would like to extend my heartfelt gratitude and appreciation for Dave's effort and hard work in paying great tribute to Fanny.

Well done Dave!

In commomerating with Dave'stribute to bombmshell, I posted this photo.

Dave, just give a guess :)

Suicide? heart-Attack? - The Mysterious Death of Chen Juan Juan

2008-11-25T04:55:00.000-08:00

When talk about child stars of 50-60s , In Hong Kong, Josephine Hsiao (Xiao Fang Fang) and Bobo Fung were the most notable, in the meantime, we also have David Chiang and Lai Siu Tin too.

When comes to Taiwan, nowdays famous TV programs hostess Miss Chang Hsiao Yen came across my mind.

While for mainland China, the Tu minority boy An Ji Si in little Soldier Zhang Ga (1963) were the foremost and most remembered.

Due to Cold War, the chinese community of different counterpart might have rather distinct memory towards their screen favorite child star, However, back to Pre War Old shanghai screen, it was no doubt that Chinese community shareed the same memory, Hu Rong Rong and Chen Juan Juan.

To most of the people nowadays, especially among the Chinese oldies enthusiasts, she was remembered because of some of the hits that she sung before, and also her collaboration with Gong Qiu Xia, Chen Qi and Zhang Fan in post WII Hong Kong Mandarin musical Portrait of four beauties (1948).

Appearing in screen as early as age of 6 in 1934, Juan Juan has been commited herself in film industry for the rest of her life, from Shanghai to Hong Kong, from prominent child star to songtress, from actress to director.

It is quite ashamed that this multitalented artist and filmmakers has been little known and underrated nowdays.

In conducting some research towards Chen Juan Juan, I came across this ambiguity of fact about her death.

All the while, it has been commonly known that her cause of death was heart attack in 1976 (some source cited 1979), and this has been cited in the autobiography of Gu Ye Lu, one of 40s famous chinese actor, whom he mentioned that late Miss Gong Qiu Xia (Kung Qiu Hsia) has mentioned abut this. (Thanks Shuesik for highlighting this).

I become curious when Madame Yang mentioned about her version of Juan Juan's death: According to her, she read a small news block in press, reporting Juan Juan's suicide in Macau, somehwere early 70s, due to unhappy marriage , declining career and deteriorated health.

Recently, Roth found out from an 80's Taiwan publication by author Shui Jing named The Rise and Falls of Mandarin Pop Songs, in an article featuring interview with late Mr Hu Xinling (chinese director, as well as husband to Gong Qiu Xia), apprently Mr Hu has somehow proven Madame Yang's fact on Juan Juan suicide, even the reason has been rather consistent.

Two ambivalent statement of fact, from Mr and Mrs Hu, what could have happened?

No matter what the reason will be, I sincerely hope Juan Juan would rest in peace, and I seirously think that the chinese film industry and media should pay a tribute to this fragile, darling yet multi-talented actress, that fated to die young..

Of course I knew that, this would be hard for the nowdays chinese speaking world, they would treasure and admire Hepburn or Kelly more , but comparatively never Lin Dai, Ruan Ling Yu, Butterfly Wu, Hsia Moon, Shang Guan Yun Zhu, or You Min, not to mention Juan Juan then~~

I love Kelly, Hepburn, Bergman, Melina Mecouri, Gable, Stanwyck and etc, but in the same time I adored Chinese classics films, actors and actresses...

When comes to classic cinema, maybe the mentality of nowadays Chinese is : they still does not really know how to treasure and appreciate their own precious culture legacy wholeheartedly~~as there's a chinese proverb says "The Moon of foreigners is always more fascinating than our Moon"

As some of my friend has said:"Chinese actress might be doubtful or even disagree when people dubbed her as 'The New Ruan Lingyu' or The new 'Lin Dai'(because they might not know who they are!!), but they will sure be delighted and feel honoured, to be labeled as The Chinese Hepburn or the Chinese Kelly"

There's a old news that, a renowned young actress in a press interview, has said "Who is Li Han Hsiang, is he a classic mainland director?"

Sorry for the rather sentimental and subjective comment, just got abit carried away by my disspointment~~

Coming Soon - The Fair Lady - Lucilla You Min

2008-11-03T20:48:00.000-08:00

In Hong Kong 50-60s mandarin silver screen, there were four movie queens that ruled the empire, we have the most senior Li Li Hua, queenie Linda Lin Dai, the top box office drawer, Great Wall leading lady - Hsia Moon, as well as charming You Min, the charming Cathay Studio 's top actress.

If we would to compare the charisma and quality to Hollywood actresses for the first impression, Li Li Hua would be comparable to Bette Davis, Lin Dai no doubt could be the Chinese Liz Taylor, Hsia Moon would appear to me like Grace Kelly of the East, well Lucilla, she should be the Audrey Hepburn of Chinese screen~~

Lets look at the photo above, featuring both Hepburn and Lucilla, in a rather similar post and gaze~~ then I'm quite positive that you would agree to me~~

In next entry, we will explore the career, the beauty, and the behind-screen story of Lucilla, the fair lady of chinese cinema!

The Three Charming Smiles (5) - Smiles Since 1926

2008-10-31T10:14:00.000-07:00

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

2008-10-29T21:17:00.001-07:00

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

2008-10-29T15:22:00.000-07:00

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

2008-10-29T08:26:00.000-07:00

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

2008-10-29T04:12:00.000-07:00

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 !

2008-10-20T21:31:00.000-07:00

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

2008-10-19T08:06:00.000-07:00

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?

2008-10-18T17:00:00.000-07:00

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

2008-10-13T08:32:00.000-07:00

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

2008-10-11T17:12:00.000-07:00

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)

2008-10-06T03:59:00.000-07:00

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~~~

Hsia Moon and Martine Carol - The 'Say Cheese' of Cold War Hong Kong

2008-09-28T00:52:00.000-07:00

Martine Carol and Hsia Moon

In 24 May 1957, French prominent sex symbol and actress Martine Carol visited Hong Kong, and it has been a sensation in town. She has been warmly welcomed not only her HK fans and moviegoers, but also Great Wall leading lady Hsia Moon too. In the welcome cocktail dedicated to Martine Carol at Gloucester Restaurant, both Hsia Moon and Martine Carol had a face to face cloeseup, smiling broadly...

While in Air France cocktail party, Mr Percy Chen introduced Xin Xin Studio actress Mao Mei (daughter of Yuan yang'an, nowadays Hong Kong foremost ballerina Mrs Chrstine Liao) to Martine Carol.

Well, when you read Hong Kong and South East Asia movie magazines, it was quite common to see news where Pro-ROC studio's prominent actresses like Lindai, Li Li Hua, Grace Chang to meet William Holden, Clark Gable, Ava Gardner and so on, in official occasion or even welcome party organized by the Studio.

The MP&GI actresses and William Holden in 1959 (L to R: Qin Yu, Diana Chang, Kitty Ting, Linda Lin Dai, William Holden, Grace Chang, Lucilia You Min, Jenette Lin Cui and Dolly Su Feng)

Pat Ting welcomed Yul Brynner upon his 3 day visit to Hong Kong

Li Li Hua and Clark Gable

However, due to political reason and Cold War context at that point of time, it was certainly impossible for Hsia Moon to meet any Hollywood stars in public event, which was fairly understandable.

But her meet up with Martine Carol, which has been reported in Studio's official magazine - The Great Wall Pictorial, and other magazines like Movies (Ying Feng), has somehow made me curious.

Hong Kong left wing actresses, French sex symbol, Mr Percy Chen, French Government, and PRC Government, these are the puzzles in my mind, that I would like to attempt to put them into picture in this essays.

From history, Cold War period Hong Kong has become the battlefield between KMT and PRC government, to gain formal recognition and support from the world as the De Facto Mainland China Ruler. They also targeted the Hong Kong residents and oversea Chinese communities in South East Asia and North America, which have been seen strategically helpful in achieving their ultimate mission.

Apparently, controlling the direction of mass media in conveying their ideology and world view through publications and films, have become the premier methods for propaganda and influence tools to these targeted audiences.

"Dao Ren Xiang Shang (To guide the people to be progressive), Dao Ren Xiang Shan (To educate the people to be kind-hearted )"

This was Hong Kong left wing filmmaker's motto. You can see screwball comedy, melodrama, realism, opera, musical, social conscience, family, epic, horror, noir, suspense, documentary, romance, patriotism, Wuxia, and other variation of genres, where most of the time with a moral behind the story and "healthy".

How to define "healthy"?

Great Wall family drama: The still childhood Josephine Hsiao and Michael Lai Siu Tin in Hu Xiao Feng's Loves of the Youngsters (1955)

In the interview with Great Wall director Zheung Yam Yin showcased in RTHK documentary "Hundred year of Hong Kong Cinema" 2005, Zhueng have a rather interesting analogy when describing the simplest standard of the left wing film making rules:"There's no need to be too sophisticated, or even must come with embeded propaganda message, the standard of healthy could be as simple as this: The audiences comes to cinema, watched and laughed, enjoyed the films and go back, is can be just like drinking a glass of plain water..."

Two stills from The Jade Bow (1966): Up - Chen Sze Sze and Fu Che; Bottom:tear filled Chen Sze Sze requesting Fu Che's last kiss, before she die~~

In their films, there will never be Feng Yue (sensual or softcore erotic themed) , and it is even hard to find a brief kissing scene. One of the significant example on how leftist filmmaker handled kiss scene can be inspected in Zeung Yam Yin & Fu Che's The Jade Bow (1966). In the last scene, you could see how modestly implicit it could be for Jin Shi Yi (Fu Che) to give the last goodbye kiss to dying Li Sheng Nan (Chen Sze Sze).

The passionate kiss between Li Li Hua and Liu Qiong in The Fire Phoenix (1951)

The only exception I could recalled so far was Wang Wei Yi's The Fire Phoenix (1951) with The 1950s Studio, where both Li Li Hua and Liu Qiong has been kissing passionately, and this has become a famous kissing scene in Hong Kong cinema history...

Runde Shaw with Great Wall's major stars: Hsia Moon, Shek Hwei and Fu Che, whom attending the opening ceremony of Shaw's new office in 1957

And of course, the left and right wing actors and filmmakers, though could be friends or family members, but it was almost impossible for you to see them attending the same formal events or public functions. The only exception that I could recalled was the opening ceremony of Shaw's new office in 1957, where Hsia Moon, Fu Che, Shek Hwei, Ping Fan

The Opening ceremony of Shaw's new office, the only photos that you could see the major mandarin stars of the left and right in one photos: (from L to R: Chen Qi, Ping Fan, Hsia Moon, Shek Hwei, Lin Tsui, Lucilla You Min, Fu Che)

For those who might not aware, The Asia Pacific Film Festival has no entry of any left wing production being shortlisted. Although I'm not sure what is the real reason, but I could firmly sure that it has something to do with politics, again.....

and we also need to be acknowledged that left wing camp, no matter press, film studios or organizations, have been the highly unfavored group by the Colonial British authority in Hong Kong. Hence, marginalisation has been quite certain when comes to recognition on their objective contribution in cinema and artistic value of their films.

Back to Martine Carol and Hsia Moon meet up at cocktail party in May 1957.

A world renowned sex symbol, a key figure of Hong Kong left wing cinema. From the shoes of left wing supporters, the PRC government, how would they perceive this? Somemore, isn't that has been an irony and humiliation to their public 'corporate' image?

Another question was, Martine Carol has played the female lead at Action of the Tiger (1957), which was a typical anti-Communist film, co produced by both US and UK. Wouldn't that be ironic for pro-PRC film studio actress to meet up and welcomed Carol Martine, and have this publicised in their official pictorial?

Martine Carol Arrival at Hong Kong airport from Singapore

This seemingly "political incorrect" encounter, has raised some of my speculations here, resulted from discussion between my buddies Lei Ming and Roth:

It could be one of the strategy of United Front Work of PRC government: With the order and permission of the "upper authority", Hsia Moon hosted the welcome cocktail for Carol, representing the gentle approach of friendship gesture of PRC government towards French government.

Would that be a lovely prelude between PRC and French Fifth Republic's establishment of official diplomatic relation in January 1964? At first this do crossed my mind, but eventually this might not be possible, after I read the French -PRC diplomatic history . Apparently Général de Gaulle returned to power with military support following the May 1958 crisis. it was one year later after Martine and Hsia Moon met...

Was there any negotiation and contact between the still NATO military command member French Forth Republic that eventually lead to the approval of Hsia Moon and Mao Mei to attend such event?

There's another key person in the photos, Mr Percy Chen, in Air France Cocktail...

Mr Percy Chen in Soviet (source: J Acham-Chen's personal web site)

Mr Percy Chen was the son of the Eugene Chen, whom returned to China after being influenced by the Chinese nationalism movement in early 20th centuries, and later become Sun's important advisor in military and diplomatic affairs. Born Negro-Chinese parentage in Trinidad, Percy studied in UK since age of 7, obtained his law degree at Hampton University, and become his father's assistant during Northern Expedition. His and his bother Jack accompaniment to Mikhail Borodin to escape the KMT Nationalist's slaughter of left-wing elements, traveling by caravan across the Gobi Desert, has ensured Borodin's safe passage to reach Soviet.

After WWII, Percy migrated to Hong Kong and become a lawyer, famed for his advocacy towards prosecution of Takungpao press and PRC gorvernment lawsuit towards Hong Kong british authority on property and rights.

Percy established Hong Kong Chinese Reform Association, an NGO who fight for better social welfare and human rights, as well as to promote Chinese culture and art. In 1956, Percy established Marco Polo Society, aimed to gather pro PRC China government foreigners power, organized visits and fundraising activities to support China's Social welfare .

Well, it was highly probable that the meeting of Martine Carol with Hsia Moon and Mao Mei was organized and coordinated by Marco Polo Society, and Mr Percy Chen might be the mastermind behind the curtain...

References:

J ACHAM-CHEN - ROOTS AND BRANCHES: http://www.achamchen.com/geneology.htm

Ming Ren Wu - Percy Chen Short Bio: http://www.mingren5.com/dangan/c/mingren/dangan423.html

Charles de Gaulle: http://en.wikipedia.org/wiki/Charles_de_Gaulle

Great Wall Pictorial - Issue 78 -pg 4-5 : Martine Carol Visits Hong Kong

Zhu Hong - Femme Fatale of the HK Leftist Screen

2008-09-20T19:16:00.000-07:00

Zhu Hong in firery red - The double twins (1962)

Painted Skin (2008) , one of the much anticipated Chinese horror movie of 2008, starring Zhao Wei and Donnie Yen, is going to have it's theatrical release next week in Malaysia..

In Painted Skin(1965), the evilly seductive Lady Mei (Zhu Hong) has finally conquered the scholar (Kao Yuen)

This reminded me of the first screen adaptation in 1964 of this story, produced by Hong Kong seocnd largest left wing mandarin studio- Feng Huang, directed by the virtuoso Bao Fong, casting the handsome Kao Yuen, sexy Zhu Hong and the virtuous Chen Juan Juan...

I will have an English review for this movie in the next post. However, in this post, I would like to introduce the movie queen of Feng Huang Studio, Miss Zhu Hong.

Born Zhu Yuan Yuan in Kunming, she was brought up in a wealthy aristocratic family, who runned gold trade business and owned the Hu Dian Bank, where Flying Tigers general Claire Chennault and the governor cum warlord of Yunnan Province, Long Yun (Later Linda Lindai's father in law), were the close friends of the family.

Zhu Hong with Mr and Mrs Zhu Shilin and Chen Juan Juan in 1956...

At the age of 10, Zhu Yuan Yuan migrated to Hong Kong with her family, and in 1956, while hanging around the studio with her sibling watching filming, she was spotted by Miss Ren Yizhi, one of the prominent director of Feng Huang, and being invited to join the showbiz. Stage named by Zhu Shilin to Zhu Hong, she immediately has her debut Trouble with The Bachelors (1956)filmed, followed by few more films, mostly comedy and some youth themed films, which has gained commercial success, and eventually made her the top leading lady of Feng Huang Studio.

However, Zhu Hong mentioned before that her father has never approved her involvement in showbiz, as he never watched any of her films before till he passed away.

Zhu Hong in The Little Moon (1958)

More hits of different genres followed, and Zhu Hong has demonstrated her versatility and talent, which has been quite impressive, and I personally think that she was the most versatile and finest leading actress in left-wing studio, when comes to acting quality. She was the innocent village girl of musical Wu Guniang (1960), the arrogant basketball player in The Little Moon (1958), the witty servant girl in The Reluctant bridegroom(1964) and the wicked queen in Chu Yuan (1974)

In The Reluctant bridegroom(1964- right) and The Golden Eagle (1964-left)

Prehaps, her most memorable and unforgettable role were the femme fatale and evil Lady Mei in costume horror Painted Skin(1965), and the Mongolian heroine Shan Dan of the first million dollar blockbuster of Hong Kong cinema history - The Golden Eagle (1964) . Both of these has been well received in Mainland China and South East Asia as well. Most of my friends from China recalled that Lady Mei has become their nightmare and haunted them for quite a longtime, and there's no way to forget it!

Anyway,after the success of The Golden Eagle (1964) , Zhu hong was actually being offered a very attractive package by Shaw Bros, but absolute idealism of the Hong Kong leftist filmaking made her stayed. She later married to Chen jingBo, the director of Feng Huang, and it was a happy and blessed marriage lasted till Chen passed away in 90's

As commonly streotyped, sexy actress, regardless whether is implicit or explicit, usually will not welcomed by the leftist camp in Hong Kong cinema, as they emphasized on the "healthy yet progressive" tradition (This might be the reason why Helen Li Mei left the Great Wall Studio in early 50's), but Zhu Hong was truly an exception.

Implicitly sexy with a class, while exuded the galmourously sensual aura, Zhu Hong was the only permitted and approved actress with this quality in Left wing studios. I have to say that this phenomenon was odd, but it was truly outstanding. I suspect it might due to the adjustment of the film making foundation principle of the leftist filmaker, when comes to market needs and moviegoers demands..

Zhu Hong in early 70's , still look exceptionally glamorous...

It was interesting to note that, even when comes to the chaotic cultural revolution era, when all the Hong Kong leftist actresses have become so "red" and "de-galmourized" to the image of worker, farmer and soldiers class, you still can see Zhu Hong's studio in stylish makeup and fashion in magazine...why was that so?

Nowadays, Zhu Hong was still active in assisting Hong Kong Film Archive in their Oral History research work, while become the editor in chief of several highly acclaimed Hong Kong film history publication and pictorial, she is also a certified gemstone analyst, and was now leading a happy and fullfilling life in her golden year.

Note: for more Zhu Hong's video please visit my youtube site: http://www.youtube.com/user/hsiamoon

Kao Yuen - The Chinese Rock Hudson

2008-09-13T16:28:00.000-07:00

Innocent looking Kao Yuen in mid 50's

In the 50-60s of Hong Kong cinema , though it was the era of the elegant and glamorous actresses, there were alot of important leading men too. In mandarin scene, we have Fu Che, Ping Fan, Kong Hon (Jiang Han), and Kao Yuen in left side; while in right wing, Zhao Lei, Zhang Yang, Roy Chiao, Lai Chen, Jin Han, Jin Feng, Zhang Cong, and even Yan Jun were the commonly known one.

Chen Sze Sze and Kao Yuen in Rolex adverstisement

Today, let's talk about Kao Yuen, the most good lookng actor of that era in my eyes, as well as arguably the most handsome leading men of 50-60s, who nicknamed the Chinese Rock Hudson, as stated in his short bio in The Pictorial Biography of the modern Stars (HK, Aug 1963)

Kao Yuen, born Jiang Jia Qi in 1933, was the child of Chinese silent movie stars couple. well, I still yet to find out who they were, the only clue that I have now was his uncle was Jiang Shi, the cinematographer of Great Wall and Feng Huang, while her aunty was Ren Yizhi, the director of Feng Huang.

Full House (1955), Kao Yuen debut, with Barbara Fei and Lee Ching

Kao Yuen graduated from Harbin Sports School, and In early fifties, he moved to Hong Kong and joined Long Ma Film Studio established by famed poet director Fei Mu, and then Feng Huang Studio, which he has his debut filmed -"Full House" (1955), co-starred with nowadays Hong Kong well known soprano Barbara Fei (the eldest daughter of Fei Mu).

Since then, Kao Yuen has emerged to be the top leading men of Feng Huang, as well as the prominent leading men in left wing mandarin scene after Fu Che.

Kao Yuen and Chen Sze Sze wedding photo (1961)

Up to date, I only watched three of Kao Yuen's movies - Dong Xiao Wan (1963, Feng Huang) , The Painted Skin (Feng huang , 1966) and The Jade Faced Assassin(1971, Shaw Bros)

Kao Yuen in The Jade Faced Assassin(1971, Shaw Bros)

and some of the clips from Golden Eagle (1964, Feng Huang) and Little Moon (1959, Feng Huang). In terms of acting quality, it was just ordinary, but physically athletic, tall, strikingly handsome and charming, has made him the matinee idol in mandarin movie scene.

Besides his gorgeous good looking face, what captured the public attention the most was his private life, especially his entaglement in the love triangle between Betty Loh Tih and Chen Sze Sze.

Raw Passions (1968), Kao Yuen first feature in Shaw Bros. co starring Ivy Ling Po

Kao Yuen was Loh Tih 's first lover, whom they both fall in love while Loh Tih of 16 was still with Great Wall Studio. At that moment, Kao Yuen was actually engaged in Mainland china, with another lady in Shanghai, whom he later canceled the engagement.

Chen Sze Sze and Kao Yuen in the KMT government's "Regret Declaration" ceromony in Taipei

When Loh Tih decided to join Shaw Bros in 1957 after being persuaded by famous director Li Han Hsiang, she actually asked Chen Sze Sze to "look after " Kao Yuen on her behalf, but it seems Chen has grab the chance and eventually turned Kao Yuen as her husband in 1961. Kao Yuen and Chen has a daughter later.

The feature that paired up Kao Yuen and Betty Loh Tih: The Chivalrous Songstress (1957, Feng Huang)

Their story haven't end there. When Betty Loh Tih divorced with Peter Chen Ho, eventually Kao Yuen and Betty met up again. This happened after both Chen Sze Sze and Kao Yuen decided to flee from left wing studio after cultural revolution started, and signed the KMT official "Regret Declaration" at Taipei, Taiwan, embracing so call "the bright freedom side".

At 29 February 1968, the sensitive Chen Sze Sze has actually attempt to commit suicide by overdose barbiturates , rumored said it was all because of a tennis match between Betty Loh Tih and Kao Yuen, and Sze Sze was not being infomed about it.

Same year 27 December , Betty Loh Tih passed away from accidental ovedosage of barbiturates at home, which rumored to be an intended suicide. In her funeral, Li Han Hsiang has actually inspired to come out with a elegiac couplet to Betty, embeded Sze Sze, Betty, Kao Yuen, Chen Ho, and both their daughter's name into it.

Eventually, Betty's death didn't secure Kao Yuen to Chen Sze Sze, as he soon having an affair with a Taiwanese air hostess named Liu Li Li, which has alot of resemblance with Betty Loh Tih in appearence, resulted in Chen Sze Sze second unsuccessful attempt of suicide, and eventually the couple ended up in a divorce in 1971.

Kao Yuen visited his wife at the filmset of "Three Charming Smile" (1964, Great Wall)

Reported by Ming Pao, When they left the court after their divorce being officially declared and approved, Kao Yuen walked away so fast with the umbrella, and he left over Chen Sze Sze umbrella-less alone in the rain, and Sze Sze uttered "How bad mannered a guy could be..."

Kao Yuen was last heard in October last year, whom he attended his ex-wife Sze Sze's funeral in Shanghai, but no photos of him has been taken...

Just wandering, how the Chinese Rock hudson looks like nowadays, and how is he getting on~~

References:

Kao Yuen and Chen Sze Sze -The Pictorial Biography of the modern Stars (HK, Aug 1963)
Kao Yuen And Chen Sze Sze Fight - Ming Pao Weekly (Issue November 2007)
The yesterday starlet - In Memory of Chen Sze Sze - Tao Jie
The Mystery of Betty Loh's Suicide - Liu Shu

What Ever Happened to The Liang Sisters ?

2008-09-12T17:03:00.000-07:00

A nice hand tinted photo of Liang Sai Zhen
Liang Sai Shan
Liang Sai Zhen

Liang Sai Zhu
Liang Sai Hu
Liang Sai Zhen in the cover of Ling Lung (Issue 31)
Liang Sai Shan

In 30-60's Chinese vintage cinema, there were some siblings who involved in showbiz and became celebrated stars, for example in Shanghai silver screen,: bewitching Huang Zong Ying and her brother huang Zong Jiang, the Gu Sisters - Gu Lan Jun and Gu Mei Jun; Malayan born Chinese, 40's Shanghai valentino Bai Yun and his sister Dong Fang Ming Zhu, while in Hong Kong, Betty Loh Tih and her brother Lai Chen as well as Lin Tsui and her brother Zeng Kong are the famous one...just to name a few.

However, there were four Liang sisters in the 30's (Liang Sai (Zhen, Zhu, Shan, Hu)-{ literally, Zhen Zhu = Pearl, Shan Hu= Coral}, who were the famed and celebrated dance hall girls in Shanghai nightclubs, and briefly involved in film production, has become noted in Stanley Kwan's Ruan Lingyu biopic in 1992, after being long forgotten for decades...

According to the finding by Prof Liang Wen Guang in his research essays in "The film History of China and Western counterpart"(Published by Xuan Nan University Press, March 1993), the real suicide note from Ruan was not the highly publicized and recognized "people words are to be feared", this note was actually forged by both Tang Jishan and Liang Sai Zhen, mistress of Tang Jishan, co drafted by her sister Liang Sai Shan.

This is derived based on an article published in an internally circulated magazine named "Si Ming Shang Xue Press", Where Liang Sai Zhen sister's Liang Sai Shan revealed the two real sucide notes of Ruan Lingyu, filled with agony, frustration and embrassment to herself, as well as absolute dissspointment towards two important men in her life: Zhang Da Min and Tang Jishan, not to mention her neighbour and good friend: Miss Liang sai zhen, whom she found out was having affair with Tang.

Ironically, this article published on 26 April 1935, Ruan's birthday...

Ruan's true final notes has been discovered, but what have happened to Liang sisters? This has become a rather interesting topic among the Ruan's fans and Ruan-natics, might be to some film historians too.

According to some uncited sources: soon after Miss Liang Sai Shan revealed the sucide notes, immediately they (the Liang Sisters) dissapeared from the public horizon, a much rumored conspiration theory suggested that "the king of tea leaf"- Mr Tang Jishan, has actually put them into eternal rest, resulted from Liang Sai Shan's betrayal.

However recently, I have read the essays from "History of Stage and Nightclub of Old Malaya" published in Sngapore, that the Liang sisters has been running the foremost nightclub in Singapore in the 40-50's, Nan Tian (Southern Sky) nightclub was the name, and it was interesting to note that some famous Hong Kong / Shanghai songtresses have performed in the nighclub before.

It was also the place where the later famed Suzhou origin Malayan striptease Rose Chan started her career there.

nothing much I could say about these sisters any further, as these were the information I have so far, hope this answered briefly the question for those who would like to find out "What ever happened to the Liang Sisters"...

Note:Most photos featured here were taken from the Ling Lung magazine website, hosted by Columbia University, except for the hand tinted one.

Sung by Linda Lin Dai- The Innocent Fifties

2008-09-07T00:09:00.000-07:00

Upon reading the title, you might be wandering, what is so significant about Linda's songs?

I wouldn't said your first impression is improper, as her greatest achievement is still with movies, not to mention the best actress award, which she has won them for four times.

Of course, for me, the film festival and movie award at that era was just a tool of star vehicles, manipulated by two Chinese film moguls, The Shaw Brothers and The Cathay.

When comes to acting quality, I never really agreed that Linda deserve such honors (from the very first time I watched The Kingdom and The Beauty (1958) in year 1995), though I must admit that she has the publicly appealling beauty and charismatic bewitching big eyes, which made her the top box office draw of that era.

However, what made me impressed and admired is her voice, most of them are songs from her films in Yung Hwa Studio era.

Discovered and stage named by Great Wall Studio manager Yuan yang'an, Lin Dai actually became "The moviestar on the magazine "only, as there's no film project for her by this pro mainland PRC studio, reportedly due to political concern (Lin Dai's father was the important political figure for Kuomintang China at that time, though ironically he settled in Mainland China at last and become the official of PRC central committee since 1965).

In year 1951, when Great Wall was about to kick off the project for "Father Marries again" (1952), Lin dai was actually offered a role, billed under Hsia Moon and Shek Hwei, which she eventually declined the role, and attempted suicide for the first time. Since then, with Yan Jun's assistance (Lin Dai's lovers at that time, later husband of Li Li Hua), both of them left Great Wall and joined Yung Hwa, still a major mandarin film studio but declining at that time due to mismanagement, and have her debut "Cui Cui" (1952) a.k.a "Singing under the moon" filmed, it was truly a massive hit and emerge to be one of the most unforgetable film in Hong Kong cinema (Again, no release in home video yet~~~)

Unlike what we seen in Lin Dai's late 50-60's Shaw's era movies, where she was modeled to excude ultimate glamour and elagance into greatest extent , she was actually famed for her potrayal as innocent village girl, with two big knoted ponytail, simple yet captivating, during all her movies filmed in Yung Hwa Studio.

To me, Lin Dai's in Shaws and MP&GI period's glamor and queenie-ness was undisputable, but when it come to personal preferences, I sincerely think that Yung Hwa period image suited her nicely, which it resonated her inner self and characteristic as well.

Seems I have gone to far from topic~~ Let;s back to Lin Dai's songs...

Most of the Hong Kong classic moviegoers or Chinese oldies fans will surely knew that Lin Dai has sung lots of songs, which some of them have been reissued by EMI Pathe in CDs. Of course, I have to say that when comes to singing skill and sophistication, she was neither Grace Chang, Gong Qiu Xia, nor Shi Hui (Shek Hwei), not even Helen Li Mei or Julie Yeh. I even feel hesistate to categorize her as a singer, simply she was just too raw and almost skillless. However, what spellbound me is a distinct quality from her voice while singing, there is a genuine sincerity, the ultimate innocence, not even a slight deliberate of pretentious or skill added, which was so adorable and yet profundly heartbreaking , reminded me of the DVD cover poster of Vittorio De Sica's "The Children are Watching Us" released by Criterion Collection.

You just find it hard to relate the later day Miss Linda Lin Dai in MP& GI and Shaws Bros Studio, after you heard her voice, or watched her Yong Hwa period movies~~

In 1964, the third publicly known suicide attempt, has finally brought Lin Dai away from the mortal world. Maybe, she shouldn't fated to be discovered by Yuan, cause showbiz is just to complicated for an innocently naive girl like her, maybe she shouldn't had filmed "Cui Cui", that rocketed her to the stardom, or maybe, she shouldn't married to Mr Long......too many maybe prehaps, but they all comes to the same conclusion, Lin Dai suicided, and the innocent Fifties of Hong Kong Cinema has never resumed...

Put aside all of her Shaw's films, try to get some of her early movies, and listen to her songs, particularly soundtrack in "Cui Cui" (1952) ,"The Fishermen song " (1956) and " The Result of Vanity "(1956), only and only if, you eager to know and understand more about Cheng Yue Ru, the true Lin Dai..

Note: all the pictures of Lin Dai featured in this article are from her Pre MP&GI and Shaw era.

Ruan Lingyu - The Goddess, The Silent Diva, The Artist

2008-09-05T17:39:00.000-07:00

I still remembered that at the age of 9, when local TV showcased Stanley Kwan's "Centre Stage"(1992), I loved Maggie Chueng in Qipao and that film itself , but what captivated and impressed me the most was Ruan Lingyu, especially a few selected footages inserted in the film itself. This is the very first time I came across Chinese vintage movies, although my mother keep saying I was enjoy watching Lin Dai's debut "Cui Cui a.k.a singing Under the Moon"(1952) at the age of 4 shown in TV2, which I really couldn't remember at all...

later, while internet comes into my world, I found and read alot of her articles and reviews which her talent and peformance has been highly acclaimed , and since then my interest to understand her has become so desperate. However, Those days in Malaysia, it was almost impossible to get any classic Chinese films in any home video, except for some selected Huang Mei musical, Cantonese opera movies and Bruce Lee's films.

In frustration of looking for her film, I turned my attention to tribute to Ruan Lingyu, by establishing her very first English website on the internet, in the year 2001. Well, nowadays, the website has not been maintained, and the design was just awful, although still have some encouraging positive feedback comes in, which made me quite surprise and pretty embarassed :) I will sure refurbish the website, probably move it to blogspot in future...

Later, I happen to find her film in a Shanghai website, in streaming media ASF format. Though neither in good quality nor high in resoultion, but it was like discovering a small oasis while dying in desert, immediately I downloaded the clips and watched it~~

Ruan didn't dissapoint me, I was glad that after so many reviews that I have read, and having rather high expectation set, her wonderful peformance still superceeded my anticipation.

before the film started, I know I'm going to watch Ruan Lingyu's movie. However, along the 70 minutes peformance, I've been so enthralled that I only saw the pain and struggle of a tragic low class prostitute and a loving mother, that touched my conscience so profoundly..

You have totally forgotten Ruan Lingyu existence in the film.... That's the charm of Ruan when comes to peformance~~

"The Goddess" (1934) director Wu Yonggang has personally described Ruan's acting as " the most sensitizable films, no matter what request I have, she could just acted so promptly without hesitation and even exceeded my expectation in the sense of complex emotional expression".

After watching I have personally proved that what Wu Yonggang said was not an exagerated flattering statement, is just so real to be true...

Nowdays, lots of surviving Ruan's films has been available in home video, out of 10 of them, I still yet to watch the "Love and Duty" (1931, Richard Poh) ,"Gui Lai"(1934, Zhu Shi Lin) and "Goodbye Shanghai"(1934, Zheng Ji Duo) .

Overhere I would like to express my appreciation towards San Francisco Silent Film Society , and RICHARD J. MEYER, for their effort to remaster The Goddess (1934), preserving one of the most important legacy in world cinema. In the meantime, I must say that despite of lots of money and resource being spent in organizing events commemorating 100 year of Chinese Cinema, it is ashame that the corresponding authority of Mainland never has initiative when comes to film remastering and repair...

Ruan will always be my best loved old Shanghai actress, hope to watch Ruan's "Love and Duty" in Chinese Taipei Film Archive in the near future...

For Those Who Might be interested - My Chinese movie Blog

2008-09-05T17:30:00.000-07:00

Before "Hsia Moon - Glamour, Elegance, Idealism" and The Golden Age of Chinese Cinema, I already established a blog, solely about vintage Cinema, which has been running since one year ago.

Well, as a Chinese Malaysian from Chinese educated background, I have been brought up with Mandarin, Min Nan and Cantonese, before Malay and English stepped into my horizon through formal education. Hence, In terms of language proficiency, Chinese is still at the top of the list, and that's why I come up with that blog way before this one.

In short, that blog primarily serve as an unofficial web portal and tribute to Hong Kong Leftist cinema, as well as featuring articles and commetaries of my own on silent movies, Chinese oldies, classic Shanghai cinema, Chinese opera, Hollywood movies and also European cinema.

Even some of non-movie related entries (mainly my travel experience, literature thingy, and some other subject of interest) are there, which totally irrelevant at all, and I'm now seriously in consideration to switch those entries to another blog.

Throughout the year, some amateur research has also been carried out, and I have the research finding published in that blog as well.

besides that, I also have some collection of movie stars photos, magazine covers, from both private collection, courtesy from private collectors and sellers, and those being found on the Internet from various sources.

First of all, I would like to take the opportunity to express my truthful heartfelt gratitude to Roth, Malaysia's premier retroist and vintage movie memorabilia collector, who have been very courteous and kind to share his rare yet precious private collection, while assisting alot in my research work, You are brilliant and wonderful Roth!

Next, I would like to thank my fellow friends, Lei Ming from Hunan, Gao Feng from Beijing, Yang Yang from Tianjin, Die Wu Cai Yi from An Shan, Miss Robin Cai from Shanghai, Gelan yefeng from ChongQing, who are Hsia Moon/vintage chinese movie enthusiasts, and have been very supportive and inspiring since 2006, you guys are simply cool!

Not to be missed is Mr Gilbert Jong, who has shared his private Hsia Moon collection to me in the early years, and also Mr Paul Fonoroff of Hong Kong, for some of the vintage material sharing as well.

Also, Special thank to Mr Chia, Mr Ang, Mr Lim, Mr Khoo of Malaysia, for their magazines, help and support, as well as Mr 俞昕罡 (pastday, Kacino) from Shanghai, who sent me a Old Shanghai Screen Voice magazine as a gift in 2002, whom I treasure it alot.

If you are Chinese literate, and you are interested to find out more about classic cinema, just drop by there and have a peek, I think it might be interesting though...

All the while the passion towards vintage and classic cinema has been an in-born nature to me, I suppose so, since the discovery of Great Wall Pictorial, left over by my late uncle, who was a socialist of high ideal in Malaya at 50-60's, a dreamer and a film enthusiasts, before he died tragically in China during Cultural Revolution...

THis is the blog URL: http://hsiamoon.blog.163.com/

The Hokkien Marilyn Monroe - Ding Lan

2008-09-05T10:51:00.000-07:00

In the Hong Kong cinema of 50s till early 60s, both Mandarin and Cantonese language production have been the mainstream. However, another alternative, but yet important chinese dialect film production has been quite active and prolific in Hong Kong as well, it is Min Nan dialect's film production(it was called the Amoy dialect films at that era), serving the market of Taiwan, and South East Asian (particularly Penang, Singapore, Philippines, Medan)Hokkien dialect speaking community...

In it's short lived glorious era, Min Nan dialect cinema has brought up lot of memorable stars, one of the best known was Ivy Ling Po, the later Huang Mei musical queen in Shaw brothers Studio of the 60's.

However, when comes to fame and beauty, three of them must come into picture: Miss Zhuang Xue Fang from Singapore, Miss Bai Lan from Taiwan, and Miss Ding Lan((丁兰) from Hong Kong.

For me, the most mysterious yet the most alluring star in Min Nan cinema, is Ding Lan.

Nicknamed as the Hokkien Marilyn Monroe by The Strait Echo, an English language Malayan press, as well as some Hong Kong movie magazines, Ding Lan was brought up in a traditional southern Fujianese family in Hong Kong, she was the eldest children among the 10 siblings. In her teenage, her father passed away. In order to support the family, she was arranged by her mother into film industry, and soon become famous for her upfront yet audacious sensuality portrayal in films. In late 50s, her runaway from home resulted from her mother's financial abuse, has created a stir among the Chinese language media of Hong Kong and South East Asia.

Another interesting thing is, Ding Lan is now beholding one of the yet-to-prove Chinese film history fact: she might be the first leading actress to appear nude in chinese silver screen.

I got to know this from my fellow friend, Mr Chia from Penang, who was Ding Lan's loyal fan and dedicated Hokkien moviegoer when he was young.

Mr Chia mentioned that in "The pretentious" (1958), Ding Lan had a long nude swim scene. It was also interesting to note that she was actually the producer of this film as well, at the age around 20.

In 1934, "The Big Road" (United Photoplay, directed by Sun Yu) has featured chinese very first nude scene (leading Lian Hua Studio male actors riverside nude bathing scene), When comes to actress pionneer on this matter, Ding Lan might be the one then.

Suddenly, the notorious nude scene of hedy Lamarr in "Ekstase" (1933) and Marlene Dietrich in the opening seuqence of "Blonde Venus" (1932) flashed over my mind...

What happened to Ding Lan after the dramatic shrinking of Min Nan cinema in early 60's?

Mr Chia recalled that Ding Lan was actually out of public sight for some period until early 70's, which she has invested in Patricia Lam Fung Fashion boutique. After Lam Fung's suicide, Ding Lan was no longer heard by anyone, not even a trace until today...

Featured above is my best loved Ding Lan's photo, taken from The Milky Way magazine...

You could see the passion and beauty of still vivacious Ding Lan, hidden within her glamorous white Qipao and graceful ear ring. Her thoughtful gaze, so close yet so distant, comes with a glimps of speechlessly profound sorrow...

What was in your mind at that moment? why you exuded such an old and anging sorrow on such a young age? I wandered.

Does Ding Lan still have any surviving films today? I really couldn't give the certain answer. The research for Hong Kong Amoy cinema, has not been in the priority list by the film historian, due to lack of sufficient information, as well as poor preservation of the films...

(Latest mini bio about Ting Lan in HKFA database: Ting Lan, born Chen Yun Lan in 1938 of Fujian origin, began her acting career in Taiwanese film scene in 1956. In 1958, she made a breakthough in Hong Kong Amoy films,and soon become a renowned siren that made Amoy, Cantonese and Mandarin production. She started her own Global Film Company, whom she become actress and producer for about 5 films. In 1964, she was married,and in 1967, her last feature The last Command was filmed, was a collaborated production between Taiwan and South Korea, that cast her along with South Korean famous actor Shen Rong Kun, and since then she retired from the movie scene )

Note: Photos courtesy from Roth's collection, as well as sources from ebay seller Kwsx, Heman, adamantine, thank you very much...

Forever Qiu Xiang - In Loving memory of Chen Sze Sze

2008-09-05T10:36:00.000-07:00

Authored by: Roth Lai

Though Chen Sze Sze only made roughly 20 movies with Great Wall, she would do several others in later years, making her, overall, one of the most frequent leading ladies of Hollywood of the East,Hong Kong’s left-wing cinema.

So ravishingly beautiful, Sze Sze was a cinematic dream came true.Perhaps her most striking feature was her startling crystalline, clear expressive eyes which illuminated the “left” side of the sky (try to imagine her perfect face bathed in moonlight and captured in a tight, dreamy close-up).

Like so many of the leading ladies of those golden years of Hong Kong cinema, she was rather petite, which set off the size of her leading men, and gifted with a high, clear voice that resonated so well in the silver screen. Lively and extremely beautiful, this consummate darling of the left ranks cinema delighted all the movie-goers in Hong Kong, Southeast Asia and Mainland China with her particular brand of talent and charisma.Sze Sze had worked steadily under the stereotype of her sobriquet of “Great Wall’s Little Princess,”(she was in the company’s pantheon with Big Princess Miranda Hsia Moon and Second Princess Shek Hwei) playing girls or young maidens during much of her career.

Chen Sze Sze and Ivy Ling Po in late 60s.

She has had a career of enormous breadth and longevity. Sze Sze could play drama, but it would be comedies and, most of all, traditional costume musical drama “Three Charming Smiles”(Sanxiao) that would make her an immortal Chinese Sweetheart.

To the Little Princess, we all loved you and you will be missed by all.

Note: Chen Sze Sze passed away at Hua Dong Hospital in Shanghai at 7th October 2007, resulted from pancreatic cancer, at the age of 69.

Between Cinema and Opera - Hong Kong Cinema's Opera movies

2008-09-03T23:02:00.000-07:00

Yam Kin Fai and Pak Suet Xin, the most celebrated Cantonese opera screen lover in Hong Kong cinema.

Hong Kong cinema history, or I should say Chinese language film history, is not consider intact without opera , as opera has been an important genre in Chinese language cinema, since the very first feature (Ding Jun Shan [Peking Opera], 1905) till the early 1980's (e.g: Wu Nv Bai Shou [shanghai Opera], 1984), opera has gained undisputable popularity among the moviegoers, only faded after 70's~~

In Hong Kong movie scene, the north (Mandarin) and south(Cantonese) counterpart has its own opera movie production.

For HK cantonese cinema in the 50-60's, the opera movie production was once the mainstream and has reached it's paramount featuring famous film actors and opera master like Pak Suet Shin, Yam Kin Fai, Hong Xin Nui, Ma Si Tsang, Tang Pik Wan, Fong Yim Fen and etc, and it is interesting to note that most of the Cantonese film actors of that era were trained and has equiped with essential and adequate Catonese opera skills for a formal peformance. Besides that, it is interesting to note that the Cantonese pop songs of that era has been strongly influenced by the opera singing style, which was really unique.

PHOTO 2: Hong Xin Nui and Ma Si Tsang, the famous Hong Kong Cantonese opera master/diva cum real-life couple that returned to Mainland China in 1955, in this celebrated Mainland feature of "Guang Han Qing" (1960)

The most recent feature, probably the last one of Cantonese Opera movie, was directed by John Woo, the famous "Princess Chang Ping "(1975) , starring Long Jian Sheng and Mei Xue Shi.

Since then, I haven't heard of any film project for Cantonese opera.

Cantonese opera still has it's fan base in Hong Kong, South East Asia, as well as North America's Cantonese community, but largely the middle age group and above. as anticipated, not much youngsters would have interest into this classical art.

Will there be full scale revival for Cantonese opera, it is still a question mark...

PHOTO 3: "Princess Chang Ping "(1975)

Whereas for 50-60's HK mandarin cinema scene, popular opera movie from Mainland has a great influence towards Hong Kong.

"Diao Chan"(1958), directed by Li Han Hsiang, Shaws first Huang Mei Musical feature, starring Linda Lin Dai.

Huang Mei opera, one of the most popular genre of chinese opera, is founded in An Hui Province, and has gained the vast popularity and attention not only in Mainland, but in Hong Kong, South East Asia and etc, following the mainland production of Tian Xian Pei (1955).

"The Kingdom and Beauty"(1958), directed by Li Han Hsiang, huge blockbuster at that time, and officially establish the Huang Mei musical genre in Chinese Language cinema. it has become Linda Lindai's best remembered film.

Since then, Shaw Bros has come up with a series of modified Huang Mei style costume musicals in late 50's, and has created a huge box office successes till late 60's, most notably The Kingdom and the Beauty (1957), and also The Butterfly Lovers (1963). I have a reason to name it so, the Huang Mei style costume musical, because the only thing that still resembled the authentic Huang Mei opera is the prelude, as well as some style of the music. Hence, it might not be apropriate to regard it as opera movie, instead is a musical genre inspired by Huang Mei opera.

However, it is interesting to note that the very first Huang Mei Opera feature in Hong Kong was actually Great Wall production of "The Borrowed Wife" (1957), starring silver screen couple Fu Chi (Fu Che) and Shi Hui (Shek hwei)...

just wandering whether would there be any surviving copy that is still exist nowadays.

PHOTO 4: Shek Hwei and Fu Che in "The Borrowed Wife" (1957, Great Wall), it was also both Shek Hwei and Fu Che first color feature. This is the handbil printed in Malaya.

One of the finest example of Battle of identical Twins" phenomenon of Hong Kong cinema, The Butterfly Lover(1963) of Shaw version (directed by Li Han Hsiang, up) and Cathay version (directed by Yan Jun, down)

In recognizing the masses' favors and demand towards the Chinese costume drama with Huang Mei musical style, Cathay and Shaws were in a intensed competition grabbing the market share, creating lots of "Battle of identical Twins" phenomenon, most notably The Butterfly Lovers(1963), filmed by both Shaw and Cathay Studio, gathering the top box office draw (Li Li hua and Lucilia You Min in Cathay's version, Ivy Ling Po and Betty Loh Tih in Shaws' version). At last, Shaw bros Studio won the battle.

Ivy Ling Po in "The Love Eterne"(1963),

The Love Eterne (Shaw version's Official English title for the Butterfly Lover) has established Ivy Lingpo as the most celebrated Huang Mei musical actress, and made Ivy successfully transited from The alternative Min Nan dialect (Hokkien) movie scene to the mainstream mandarin production in Hong Kong.

Miranda Hsia Moon in her second Shaoxing opera feature with Great Wall Studio, "Princess Falls in Love"(1962), after the success of first feature "The Bride Hunter"(1960), both films has become her best remembered opera features.

Besides Huang Mei Opera, Shaoxing opera has also emerged to be a significant genre in Hong Kong Opera movies, thanks to the collaboration between Mainland China and Great Wall Film Studio, as well as Shanghainese community resided in Hong Kong. In the meantime, filming Shaoxing opera has actually kept the left wing studios away from the violent battlefield of Huang mei musical market, while gaining commercial success that still meet the market demand on costume musical drama. Altogether there has been four Shaoxing opera being filmed, all starring Left wing top leading actress Hsia Moon, dubbed by professional and well known Shaoxing opera artists and divas of Mainland China, they are the authentic screen adaptation from the opera , hence some scholar even regards these films as the documentary of Shaoxing opera in film, which make sense too.

Chen Sze Sze and Hong Kong Shaoxing opera actress Xiang Qun in the memorable" Three Charming Smile"(1963), the Jiang Nan Folk Style musical, only one of its kind in Chinese Cinema history

Apart from these, there's a notable example on the chinese costume drama musical, produced by Great wall, which was also commercially successful. Directed by Li Ping Qian, starring the charming Eurasian rose, the third princess of Great Wall Chen Sze Sze (Chen Si Si), this films adapts the traditional Jiang Nan region folk songs and operas, with customized lyrics. Besides that, This film has actually immortalized Chen Sze Sze as the silver screen sweetheart of Mainland China, as it's release in Mainland has become a massive hit, soon after the cultural revolution in late 70's.

There were a handful of Peking opera movie (Wang Bao Chuan, Peking Opera, starring Grace Chang) being filmed as well in Hong Kong, as well as Teochew opera too...

Chinese opera has no longer enjoy the popularity and status as it used to have in the golden age, they are now even facing survival crisis, the audiences and market are shrinking, and youngster has lost the patience and interest to learn and appreciate the beauty of them~~

But I have to say that, films and reels has preserved some of the most important essence of the Chinese opera, which has become an important cultural legacy..

PHOTO 5: Miranda Hsia Moon and Mainland professional Shaoxing opera actress Ding Sai Jun in comedy "My Darling Princess"(1964, Great Wall), directed by Hu Xiao Feng, it was also Hsia Moon third Shaoxing Opera features with Great Wall Studio.

High Tea with Bobo Fong

2008-09-03T08:08:00.000-07:00

"Dev, we going to meet Bobo Fung next week...",

I was shocked and surprised when Roth told me about this...

Though being enamored with vintage cinema for so so many years, I wouldn't dream of seeing any living screen legend, not to even mention to have high tea with them, for me, this is merely buliding castle in the air...

Special thanks to Roth, as well as Eric, Bobo's fashion designer, which have made it become a reality...

In 30's Shanghai cinema, Chen Juan Juan and Hu Rong Rong were considered the Chinese version of Shirley Temple. When comes to 50-60's Hong Kong Cinema, this distinctive dub
was inherited by Bobo Fung. Ever Since her debut in silver screen at the age of 5, she has emerged to be the most celebrated child star ever in Chinese Language cinema history, and has successfully undergone the transition period to become a famed actress up till today. Though no longer prolific, occasionally she still appeared in some mainland or Hong Kong TV series, most notably "Wan Jia Deng Huo" (ATV, 2003)

7th November 2007, Dlish Cafe, Bangsar, 2:50pm~~

Our appointment was 3:00pm, We(Roth, Eric and me) arrived abit earlier, while we were chatting, I heard a familiarly clear and cheerful lady voice greeting Eric in Cantonese... Oh my god, here comes Bobo Fung, the living screen legend, stood in front of me elegantly with a warm and friendly smile~~

I addressed her respectfully as "Bobo Jie" (sister Bobo) in Cantonese during the our coversation. Though a famed superstar, Bobo doesn't putting on air or showing atitude in any topic of discussion, Instead she was more like a kind sister or an old friend, sharing her story, experience, which is inspiring and truly interesting. It was truly unanticipated that she shared and discuss things with an open mind, objectively sincere with a genuine modesty, Personally I think this is really hard to comeby, not only to the context of a movie star, but also to a normal people around us.

She shared her recent project in writing her autobiography, sharing the apporoach she going to use, and even discussed with us the apropriatety and the feasiblity of her apporach, I felt that as if I wasn't talking to a famous actress, nor a senior, it was all just so natural like friends, though this is the very first time I'm seeing her..This really impressed me alot.

When we discussed about what made the Bobo "child Star" phenomenon so distinct yet so unique, Bobo has actually derived a most probable conclusion, is very simple - sincerely innocent and genuine truthfulfulness that she exuded, has touched profoundly the heart of audiences and moviegoers...

In between, some people has actually spotted and apporached her to express their appreciation and admiration towards Bobo Fung, one of them was a middle age chinese lady, used to be Bobo's devoted fan as she claimed, seeing Bobo in real life for the first time. I can saw the ultimate blissfulness and happiness in her facial expression, and Bobo has not dissapointed her, returned her with a warm and sincere gratitude..

Before the session ended, Bobo has come up with the idea of establishing a fan club, with the purpose of thought sharing and enriched each other's soul, to help and support each other morally and spiritually, which i think is really a brilliant idea..

At last, i would like to say, "thank alot Bobo Jie, you are simply wonderful!"