George Wong (as Peter Yang)
Drama about a young man who joins a boy band and embarks on a journey to find his real mother.
Big Bear and Big Mouth were raised in the same orphanage. They worked in the traffic division of the police department for years. They were assigned to tow cars by their division commander; but on the first day of their assignment they mistakenly picked up a little girl named Bun. They were delighted to discover that Bun had an attractive aunt named Mary. In typical fashion, Big Mouth mistook Mary's show of affection as a show of love, and was devastated when she rejected him.
The poetry of teenagers in love is one of the most endearing and enduring traditions in cinema. Philip Chan made his solo directorial debut with a film based on his own adolescent fantasy, about a secondary school student who falls in love with his teacher. The teacher happens to be pregnant and, after the kid makes the vow to help her take care of the child, the father reappears to assume his responsibilities…Is teenage bubble going to burst? Chan had the foresight – or was it luck? – to hand over writing chores to Alfred Cheung, who turned the potentially controversial story into a script of nuanced emotions and morality while managing to avoid the sensational. Charlie's Bubble, which escaped critical attention in its initial release, is a work that deserves a second look.
Directed by some of most well known Chinese-language directors of the time, the portmanteau film Four Moods was an attempt to alleviate Li Han-hsiang’s financial troubles during the late 1960s. Arguably one of his best works, King Hu’s short Anger is an adaptation of the famous Peking opera San Cha Kou; set to opera instrumentation and stylishly shot, the film deftly captures the tense showdown between political schemers, avengers and vagabonds inside an inn. Li Han-hsiang’s Happiness, inspired by the Strange Tales of Liaozhai, tells a tale of reprieve for a kind-hearted ghost, while Pai Ching-Jui’s Joy and Lee Hsing’s Sadness both explore the fateful encounters between mortal men and ghostly women.
When Master Leung tries to rob Wong I-Hsia of a precious cargo he must protect, Wong I-Hsia fights him off with the iron palm and makes his escape. Too old and weak to continue his mission, Wong I-Hsia entrusts the cargo to his eldest son Wan Fu, who wastes no time in proving his fighting skills as he slays 50 of Master Leung's men fighting off a forest ambush.
