Tse Tsak-Yuen

Carter Wong stars in this Hong Kong classic as a powerful martial artist who must protect an old man and his daughter from a snake god who possesses deadly kung fu skills.

A beautiful Cantonese opera about the forbidden love between a princess and a scholar. The backdrop is Ming dynasty China and the two would rather die than be apart.

Hong Kong sex comedy film.

Romantic tragedy based on John Lo Mar's story "Love Under the Cross".

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.

A Hong Kong Cantonese comedy film

A Hong Kong Jane Bond film starring Josephine Siao.

In protecting a group of children from bullying and gang violence, the gallant 'Lady Bond' Kong Yin stays with the family of driver Lee Pak in order to give classes in self-defence to Pak's younger brother Calf and neighbours Tak, Ah-ling as well as the young woman Sheung, drilling them in the moves and techniques. Startled by her striking resemblance to his kidnapped girlfriend Tong Ching-yee, Tse Tsi-ming pleads with and convinces Kong to pose as the missing girl to visit her bedridden grandfather Chung-sau. The masterminds behind the abduction, Tong's stepmother and her nephew Chan Chi-biu capture also Tse and the children. Tse brilliantly manages to alert Kong. Fighting and apprehending her opponents, Kong frees the hostages and hands the criminals over to the authorities.

Director Wong Yiu, recognising the spending power of a new demographic, was looking to create a teenage sensation for the factory girls. It soon became a social phenomenon in the 1960s. Former child star Connie Chan Po-chu fitted the bill perfectly with her doe-eyed innocence framed by silky long hair. In Girls are Flowers, she plays a young tutor falling in love with a handsome boy. However, their road to romance is paved with potholes and speed bumps. Chan's fellow former child star Nancy Sit plays the boy's younger sister who saves the day with her shrewd, nimble-minded plans. Sit's role may be small but with radiance from her glorious smile and beaming personality, she brightens up this musical romantic comedy like a fairy-tale nymph.

Tse Mei-chen is deeply concerned about her only family, sister Bo-chen who is obsessed with perfecting her detective sensibilities. One day, Bo-chen returns home in panic to relay to her sister and her boyfriend detective Ma Tin-lung the horrifying murder of Siu-ying by her husband Tsui Kai. But a subsequent visit to the couple's, the cousin of Bo-chen's best friend Wong Kam-fung, proves the alleged crime false. Incognizant to all, the victim was Siu-ying's twin sister Kwok-ying, who bore witness to Tsui's misappropriation of their wealth for drug trafficking. Refusing to abandon the probe, Bo-chen is held up by Tsui. Deeply perturbed by Ma's investigation into his secret dealings, Tsui coerces Mei-chen to distract her boyfriend long enough for his escape. Refusing to bow to the threat, Mei-chen informs Ma who leads his squad to the rescue of the sister and arrests Tsui and his accomplices.

Celebrity Sadora is seriously wounded in an air crash. Police commissioner Suen and subordinate Ko Cheung find out Sadora was under duress from the Black Dragon Gang to collude with the criminals who had held his daughter hostage. When Ko, assuming Sadora's identity to safeguard his life, is abducted by the gang, Suen turns to 'Black Musketeer' Muk Lan-fa. By blatantly refusing to cooperate with the authorities, Muk escapes the surveillance of both the police and the gang. Acting alone, she scouts the location of the lair but ends up being imprisoned in the same cell with Ko. The captives use every trick in the book to escape. An undaunted Muk returns to infiltrate the den, while her sister Sau-chen, Suen and Ko are lying in wait. The hostages are released and the gang wiped out in a battle fiercely fought. (Synopsis based on visual audiomaterials)

Connie Chan Po-chu's character's father was killed by the triads, leaving behind two daughters. The elder sister makes a living as a singer at a nightclub, and is sometimes threatened by triad members. The younger sister (Connie Chan Po-chu), who knows karate, becomes an assassin who punishes villains.

Dirt-poor painter But Ka-sing lives under the same roof with Tang Chan-sin and Lee Tai-hak. Smitten with Tse Mei-chen, the penniless suitor resorts to staging a suicide and makes a fortune of his paintings which are sold at sky-high prices after his feigned death. Reinventing himself as a doctor, But competes with the rich heir Fung Chak-chak to win Tse's heart with an avalanche of gifts and money. However, Tse rejects the suit of the philistine. But gives up his windfall and tells the truth at his memorial exhibition. Thrilled, Tse pledges her love and marries the painter, for better and for worse.

The Killing Flag (Part 1) is a 1963 Hong Kong martial arts film direcred by Fung Chi-Kong.

Ye Hui and Jiang Man were originally a loving couple. One time Hui received a 1000 dollar bonus, and his colleague Zhu Ge-Kong paid a plan to hide the bonus in the shoes and prepared to spend it on his own. After Man found out, he took the money away, and the two quarreled about it. , Hui asked for a divorce in anger, but he was not allowed to move away, so he only hung a tent in the bedroom as the "Chu River and Han Jie". After that, Huichang fought with his wife, even pretending to have brain cancer, and tricked Man into taking care of him. , Unexpectedly, it was seen through by Man again. Manager Hong of Hui Company and Manager Mei of Man Company reunited, and the two companies merged together, and Man promoted the director, making it difficult for Hui and Kong. After the manager of Man Demei persuaded him, he witnessed the affection of others’ husbands and wives. Deeply ashamed, reconciliation with Hui is as good as ever.

Having lost her mother, young girl Bobo (Fung Bo-bo) lives with her honest but incapable father until her stepmother and a wizard conspires to kill her. While escaping, she picks up a magic cup. With the help of the powerful genie in the cup, Bobo embarks on a fantastic adventure featuring giants, magic and treasures. The composited special effects in the film are fascinating: the horizontal ancient well, the giant hand controlled by electricity, the grand palace and the incredible mountain ranges embellish an Aladdin-like story. After its first run in cinemas, this film enjoyed popular second runs, matinees and numerous screenings on television, entertaining many generations of Hongkongers.

After inheriting his father's estate, Cheung Ka-bo leads a life of debauchery after getting know Blackie Yuen, who profits at others' expense, and Yee-Wah, who working at a night club. As the family wealth diminishes, he always squabbles with his wife and finally separates from her. She returns a diamond bracelet, kept by Uncle Chan, to her mother-in-law. Bo's mother hides the bracelet in a chair. Later, Wah resides at Bo's home. To flatter Wah, Bo wants to get the bracelet by any means from his mother and give it to Wah. Later, Bo's mother falls ill. In the hospital, she tells Bo of the bracelet's whereabouts but the chair has already been sold to Uncle Chan by Wah. Bo, Wah and Yuen stealthily enter Chan's home to get the chair, but have a big fight when they try to take the bracelet. Knowing that Bo has huge debts, Wah intends to leave him after getting the bracelet. Wah exposes her gluttonous self in her pursuit of the treasure. Bo learns his lesson and returns to his wife.

The town is rumoured to be haunted. Cheung Siu-chen pretends to be possessed so that her lover Lau Tin and his friend Lee Luk may heroically exorcise the ghost and curry favour with her father. Driven by greed and lust, the attendant of the ancestral temple and his underlings cast an enticing spell on Cheung and claim that Cheung is possessed with a fierce ghost. Lau and Lee expose the hoax and redeem Cheung. Cheung's father happily gives his consent to the marriage between his daughter and Lau.

Written by the great librettist Tong Tik-sang, and featuring Lee Tit's elegant direction and superb performances from Yam Kim-fai and Pak Suet-sin, "Butterfly and Red Pear Blossom" brings Cantonese opera to cinematic life. The film features two lovers who have never met in person but whose poetry over three years has subtly declared their unyielding love. Yam's minimalist acting style enables her to convey dynamic passion as well as step about the stage with ease and accomplish the image of a resolute, yet gentle, scholar. Pak meanwhile defies a prime minister with pride and dignity.

Lai-ying (Cheng Bik-ying) is a wealthy socialite who travels globally. Tired of her lifestyle, she sends her secretary Kiu (Tam Lan-hing) to stand in for her in a social function in Hong Kong. Local rich playboy Chung (Sun Ma Si-tsang) is forced by his father (Lee Hoi-chuen) to court the fake Lai-ying in order to save the family from financial distress. But Chung is in love with the real Lai-ying, who pretends to be a poor girl from a working class background. Naturally, the father is unhappy about this mismatch. Typically cast for feisty roles, Tam Lan-hing here plays a marriage-hungry woman, eager to be seduced who knows flirtatiousness can be so hilarious!

Reporter Yu Mong-yuen is recovering from a leg injury in his fiancee Man-wah's apartment. Bored, he looks out the rear window and observes the life of the neighbouring building. Among the tenants are a sugar-daddy and his mistress, a middle-aged man wants to marry a young girl, but she is in love with his son. Finally, she hatches a plot and makes the man agree to her marrying his son ; a sly fortune-teller ; a lively gym, a rich widow quarrels with the trainer of a gymnasium because his dog has bitten her cat ; and an opera school, a woman signs, leaning on the balcony, and a man tries to strangle her. In fact they are rehearsing an opera…… One evening, Wah is on the night shift, and Yuen watches the opera troupe rehearse to the end. Under the influence of drugs, Yu mistakenly believes that a divorced man has murdered a taxi dancer. He alerts the police, but the whole thing is nothing more than a misunderstanding.

Chinese Opera comedy from Hong Kong directed by Fung Chi-Kong.

Comedy from Hong Kong directed by Cho Kei.

Fong Yim-fun puts on a tour de force as an ill-fated woman, separated from her lover through an arranged marriage to the terminally ill and impotent son of a warlord. The power struggle within the family led to an inevitable murderous consequence. Seven years later, the heroine's ex-lover, now an ambitious detective, is keen to solve this almost forgotten case, only to discover that he is also part of the enigma.

Mok Ming moves into Po Tak-yan’s old mansion. Po's mistress, the songstress Tsi Law-heung, has died in it. Her spirit haunts the mansion as she is unburied. Mok sees her ghost and notes that she resembles his late wife Kit-ching. Mok dreams that his wife has possessed Tsi's body in return. Mok asks Uncle Tak to take him to the coffin. Tsi resurrects as Kit-ching. Mok accepts that his wife has returned from death, but he is suspicious. He brings her to a nightclub, where they chance upon Po and his mistress, Chan Mei-chu. Po is suspicious. Mok explained that his wife has returned through Tsi's body. Two reporters are there and the news is reported in the papers. To resolve his suspicions, Po goes to the old mansion. He meets Mok, his “wife,” and Uncle Tak. The wife denies that she is Tsi. Po retrieves a pistol and goes to confront the woman. Mok intervenes. In the struggle, Po falls down the railing to his death, but Tsi is shot. Now it is time for her to tell Mok of her past.