Poon Cheuk

Centring on the legend of the four ancient Chinese heroines, the film was a novelty for audiences at the time, as the singing performance was in Cantonese and used huangmei operatic rhythms—a popular trend in the 1960s, yet it retained traditional flavours by using operatic luogu percussion in the battle scenes. ‘Movie-fan princess' Connie Chan Po-chu not only sings Cantonese song and huangmei tone solos in the film, she also wows the audience by taking up the doumadanrole for the first time as the Tang dynasty female general Fan Lei-fa, showing off her superb operatic martial skills, together with Shum Chi-wah, inherited from Peking opera master Fen Ju Hua. Yu Kai's weaponry prowess and renowned female comedian Tam Lan-hing cross-dressing as a male general are also brilliant in this gem.

Centring on the legend of the four ancient Chinese heroines, the film was a novelty for audiences at the time, as the singing performance was in Cantonese and used huangmei operatic rhythms—a popular trend in the 1960s, yet it retained traditional flavours by using operatic luogu percussion in the battle scenes. ‘Movie-fan princess' Connie Chan Po-chu not only sings Cantonese song and huangmei tone solos in the film, she also wows the audience by taking up the doumadanrole for the first time as the Tang dynasty female general Fan Lei-fa, showing off her superb operatic martial skills, together with Shum Chi-wah, inherited from Peking opera master Fen Ju Hua. Yu Kai's weaponry prowess and renowned female comedian Tam Lan-hing cross-dressing as a male general are also brilliant in this gem.

Morris the Tailor seeks to get even with Gilbert, Earl of Chen who has stolen a set of expensive clothes from him. Morris bumps into Princess Jenna and the two fall in love at first sight. But the king voices his opposition since Morris is from the grassroots. Gilbert suggests that Jenna's aunt adopts him as her foster son. In a split second, Morris is elevated to a royal and becomes the king's son-in-law.

Middle Eastern folktale collection One Thousand and One Nights has been greatly treasured by Western storytellers who are fascinated by the fantastic world within. The exoticism conveyed in Western film adaptations greatly appealed to Cantonese opera and film writer Ma Si-tsang, who adapted The Thief of Bagdad (1924) into Cantonese opera The Prince of Thieves, set in an ancient empire influenced by both East and West. In 1958, director Luk Bong adapted the play into a film, turning the thief of the original film into a Robin Hood-esque hero who poses as a prince to compete for the princess' hand in marriage. Packed with a thrilling treasure hunt and a damsel-in-distress rescue as well as eye-catching special effects, Prince of Thieves is 100% a romantic swashbuckler.

A Chinese Opera film by the Shaw and Sons studio.

Vagabond singer Ali is embroiled in a dispute over love and is compelled to return to his own country. Ali is mistaken for the future queen's consort and chances to meet her majesty Law Yee. Law falls head over heels for Ali and they get married not long after. However, Ali finds royal formalities unbearable and decides to run away from the palace. Disregarding all rules, Law follows her man to wherever he goes.

Chinese Opera from Hong Kong directed by Ng Wui.