Yung Yuk-Yi

Mimi asks handsome Chan Chi to drive her home one night, when she is short of money. They meet several more times at the restaurant, and Chan Chi eventually asks her around to his place for supper. She doesn't turn up, so he goes out to a swingers party with his publisher. He is shocked to find Mimi there, as the escort of a playboy. In a confused confrontation afterwards, Mimi decides she is not good enough for Chan Chi, and she vanishes. Chan Chi decides he really loves her, and commences the search.

In the early days of the Chinese Republic era, dockworkers in Macau are being mistreated by their Chinese overseers. An accident reveals that the cargo is composed of guns and opium.

A father endeavours to reform his irresponsible children.

Two schoolgirls become bar girls at night to earn money.

1969 Kung-fu film featuring Suet Nei in the lead role.

Sword of Emei is a Hong Kong Martial Arts movie starring Sammo Hung

The Fragrant Sword is a Hong Kong Martial Arts movie starring Stanley Fung. Yu Lap-chung has been executed for the murders of martial alliance members when the black-clad assailant to blame is still roaming free. Apprehended by the murder threats to the helmsman of Emei and Xueshan, Golden-clad Ambassador of the alliance solicits help from the security escort master Wai To, Yu in disguise spared from execution by his master who had a rapist stand in his place. The fake scholar ingratiates himself with Ai Ching-yee, daughter of the Mulberry Pillar Fortress helmsman Ai Pak-chuen and exposes the father's conspiracy with his sworn brother to rule the martial world by dispatching Ching-yee's senior disciple Sze-hung Ying to commit atrocities against the martial alliance. Yu cajoles Ching-yee into assisting in Sze-hung's capture and with the culprit handed over to the alliance, the young lovers wander away.

A Death Pass is an outstanding crime drama spiced with a touch of ‘Jane Bond'. A sequel to the police story Girl Detective 001 (1966), director Chor Yuen and scriptwriter Szeto On retain the undercover plot but turn the film into more of an atmospheric mystery, in which a series of murders are committed after the victims are served with a provocative Death Pass. Connie Chan Po-chu stays truth to the ‘Jane Bond' persona of a virginal action woman, exuding tender charm and steely professionalism all at once. Under Chor's able direction, Szeto's complicated story is executed with style and vigour, culminating in a climatic dramatic plot twist, realised beautifully by the performance of veteran actor Leung Sing-por.

This is a Cantonese musical from director Wong Yiu

Bat Girl (Josephine Siao) returns from Singapore to Hong Kong as the singer Barbara to investigate her dad, a trapeze artist’s death. She is orphaned. She stays with her aunt. Her cousin is Sze Wai (Lui Kei), a pulp fiction writer of the superhero, Bat Girl. Encountering injustice, Bat Girl confronts Sze to interrogate about the whereabouts of Wu Wan-Lung (Sek Kin). Bat Girl unites with her friend, Chan Kwong-ying (Lydia Shum). Sze tracks down Bat Girl and is involved in a fight with Lung's marksmen in a nightclub. A private detective, James Bond (Cheng Kwun-Min) helps Lung find Bat Girl to no avail, as she appears in guises. Bat Girl eavesdrops on Lung and realises he was her father's murderer. She revenges on Lung, and a strange female creature (Yung Yuk-yi) appears as the Lung's house's owner. The creature finds that Bat Girl is her daughter. She wrestles with Lung and they are both burnt to death. At last, Sze finds out that his cousin is Bat Girl and they begin a romance.

Wan Cho-sin has two daughters. The elder sister Wai-man is genteel and graceful, and the younger sister Wai-ping, taken under the tutelage of Lady Knight Silver Fox, is extrovert, outgoing and gregarious. The drug kingpin Chung Chi-wang has his eyes set on Wai-man but the girl is in love with Ma Kim-leung. Ko Tin-yam, who fearlessly wields his journalistic pen against the gangster, joins forces with his girlfriend Wai-ping to beat off Kong Yau-ming and the thugs dispatched by Chung. The encounter, leads to Kong's recognition of Wai-ping as his flesh and blood entrusted to Cho-sin's care years ago. Wai-ping pleads with her father to turn over a new leaf but fails to save him from Chung's murderous hand. Wai-man and Ma ingratiate themselves with the gangster, who uses the duo to elude the police while transferring drugs to a secluded villa. Wai-ping tips off the authorities about the traffickers' whereabouts and cracks down on the drug ring.

Banker Fung Yan-tsang is a seasoned criminal in fraudulent activities. The righteous cat burglar Ham Siu-fo has issued a deadline for Fung to return the scammed money. Despite the obstacles put up by Fung's allies Chow Wai-pak and his stepwife Julie, Ham still manages to reclaim the money which is accordingly returned to the customers. In the process, Ham is reunited with her long-lost twin sister Katherine, Chow's daughter. Since losing her mother whose health took a turn for the worse after Chow's marriage to Julie, Ham has undertaken a chivalrous course in the footsteps of her aunt. She thwarts the scam marriage set up by Fung for Katherine and his idle son, using the servant Chu Yat-keung as bait, and exposes Fung's illicit affair with Julie. Crossing boundaries of class and wealth, the servant Chu and Katherine become man and wife. A happy Ham leaves, continuing to devote her life to the causes of social justice.

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.

The third live action Old Master Q movie depicts drama and hilarity between a young couple during their hardships.

The continuation of the Old Master Q film series.

Hong Kong's Ironman stepped up to the plate when Dr. No (1962) took the world by storm in the 1960s. Tso Tat-wah, the quintessential tough guy of Cantonese cinema who had appeared in dozens of popular action films, was licensed to spy in several 007 imitations. Here, he is Agent 303, the lucky number "3" a vivid sign of East-West integration. Presented in glorious widescreen, the film is garnished with secret weapons and ominous hideouts, mind games and technological intrigues, violence and sex, the latter in the form of a silhouette striptease!

First film in the series, based on Ni Kuang's spy pulp novels. Police Commissioner Fong enlists the chivalrous female bandit Muk Lan-fa to retrieve the latest gadget that emits deadly laser beam and its protocol, which allegedly have been transferred away by Ho Tin-hung. Sensing his life in danger, Ho recruits the agent Ko Cheung as his aide, but no sooner has Ko set foot in his house than Ho is murdered. The opportunistic Detective Chan coerces Ko into the hunt by implicating him in the crime. Masking their own agenda, Muk and Ko enter into a duel of wits which leaves the beaten Ko with a counterfeit. Having abducted Muk's mother, Chan presses Muk and her cousin Sau-chen to surrender the genuine article, but Ko unmasks Chan, the spy, by baiting him with the weapon. The police squad led by Fong and Commissioner Suen swarm onto the scene, arresting Chan while he is attempting to flee holding Muk's mother hostage. Chan dies amidst a shower of bullets fired by his own daughter Sau-chen.

Book Without Words is a 1965 Cantonese martial arts film directed by Chan Lit-Ban and starring Cheung Ching.

Family Doctrine is a drama film directed by Chu Kei and stars Wu Fung, Man Lan, Pearl Au Ka-Wai, Ma Siu-Ying, and Kitty Ting Hao.

Orphan Lee Dan-hung is made a scapegoat by her cousin Chor Kwai-ping. Facing drug trafficking charges, Lee is released on parole with the doctor To King-chung as guarantor. Lee works as a sanatorium nurse. The modest caretaker, Matriarch To plays matchmaker for her son To Ngan-sing and Lee. Ashamed of her past, Lee listens to the doctor's advice and keeps the Tos in the dark. Chor returns and coerces Lee into colluding with smuggling ring by threatening to kill her newborn daughter. The reluctant Lee is arrested in a police raid together with the gang members but is later acquitted. With a reputation to defend, To toughens his heart and expels Lee. Lee leaves for Borneo with a touring opera troupe but a yearning for her daughter brings her back several years later. Feeling for the upset in-law, Matriarch To grants her stay until his son's return from business in a few months' time. When To returns, he decides to make up for the wasted time by bringing Lee and her daughter home.

The first appearance of the comic character Old Master Q and friends.

Fantasy / horror.

Cheung Yan-lai is imprisoned as he is framed by his elder brother Yan-tsuen. Yan-lai escapes and takes revenge with a quasi-scientific sorcerer, who uses orangutan blood to turn the Yellow Hair Monster into an unparalleled weapon when it drinks human blood. Yan-lai, the Yellow Hair Monster, and the sorcerer, go to confront Yan-tsuen after knowing he will donate a gold Buddha for fund-raising. They are caught in a warehouse. A female ghost kills Yan-tsuen. Heroine Wong Ngang and the Director rush there. They fought with the sorcerer, who dissolves a corpse using a poisonous solvent. It also kills the Monster. Yan-lai gets an electric shock and the sorcerer is scared to death by a vampire. Mother Lo, Yan-tsuen's maid, disguised as the ghost and the vampire. The gold Buddha belonged to her father, who was killed by Yan-tsuen. Yan-tsuen raped her. She sought revenge, takes back the Buddha, and killed Yan-tsuen's wife. Wong Ngang gets the Buddha. She, Wu Ah, and Heung Ngan are satisfied.

Cheung framed Chan For. Chan orders his wife not to tell this to their children, Ah Lan and Hung. His wife passes away. On her deathbed, she asked a neighbour, To Chung-man, to take care of her children. Claiming to be a good friend of their father, Chan For moves in to the bed next to Ah Lan to take care of his children. Hung likes this uncle because he always treats him generously. But Ah Lan finds "Uncle For" weird and enthusiastic. Ah Lan is forced to pay her mother's debt. Hung is suffering from acute appendicitis. To solve Ah Lan's financial problem, Chung-man returns to his rich family and accept an arranged marriage. Ah Lan decides to sell herself to the construction site foreman for one night. Chan For wants to stop his daughter from making this deal, so he agrees to work for Cheung again. The next day he carries out a robbery and is caught. Ah Lan and Chung-man visit him in jail, and hold their wedding ceremony in front of him. He looks forward to the days when he returns.

Poor teacher Chan Chi-hong, his wife Lee Yuk-mei and their five children survive on his meagre pay. When he is laid off by two schools in a row, the family runs into difficulties. The children resort to begging on the streets to pay the mother's medical bills. Turning to writing, Chan's novel fails to find a publisher and, worse still, he comes down with tuberculosis. Dealt a further blow by the death of the youngest daughter and the pressures from the loan sharks, Chan contemplates killing himself and his family but changes his mind when he witnesses the sacrifices made by other parents for their children. He vows to be a dutiful father and tries his best to overcome their adversities. His novel is finally published and sells well. Through thick and thin, the family at last sees the light at the end of the tunnel.

Lee Sun-fung is renowned for adapting literary classics for the silver screen. To commemorate the seventh anniversary of the Union Film Enterprise known for producing quality films and co-founded by Lee, Human Relationships is adapted from writer Ba Jin's novel into film. The Yiu family moves into a manor. Mrs Yiu, while frustrated by the way her step-son is spoiled by her husband and mother-in-law, develops a friendship with a kid (Michael Lai) who steals flowers from the mansion's garden. She later learns that he is the son of the place's former owner whose downfall at middle age is the result of being spoiled when young. Lai was only a child but gained a foothold among seasoned veterans like Cheung Wood-yau, Ng Cho-fan and Pak Yin.

A wedding musician fails to wed his own love: Little Trumpet is raring to marry his childhood sweetheart, but a series of setbacks has prevented them from getting their way. Criticism against social formalities becomes all the more forceful with the clever use of contrast and irony, not to mention the realist and comedic touch a la Zhu Shilin. Of special mention is the famous teahouse scene where dynamic, melodic camerawork creates a hilarity that continues to amaze to this day. A genuine masterpiece with every single detail, down to the minor props, forming an integral part of a whole. Today, young couples are struggling nonetheless to get a roof over their heads, a testimony to the fact that poverty still reigns beneath the facade of harmony and stability after all these years.

A Chinese drama

Drama / thriller from Sanxing Film Company.

After spending seven years apart due to warfare, childhood sweethearts meet each other again and fall in love, yet tragic fate awaits.

A love triangle between a wrongfully accused fugitive, a judge's daughter, and her cousin.

Driver Ko Wah (Lee Ching) refuses to transport ammunitions for the enemy, and is sent to jail after a scuffle with his traitorous boss. Although down and out, Ko takes in Siu-fung (Yung Siu-yi), an unwilling erotic dancer who has fled the war to Hong Kong. They may lead destitute lives, but their conscience remains intact. Director Cai Chusheng co-founded the National Salvation Association of Cinema. When Ko makes a uproar at the dance parlour and rips apart his friend's zombie costume, it represents Cai's criticism on the muddling-along attitude of Hong Kong society at the time. The characters' decision to return to the mainland to join the resistance effort also foretells Cai's decision to do the same in real-life.