Tong Kim-Ting

The creative person torn between ideals and reality is one of Chor Yuen's favourite characters in his 1960s films. Another favourite subject is the rose, not only featured in the title of several films but is also the name of the production company he formed with his future wife, Nam Hung, who also stars in most of its productions. Rose in Tears is in fact the company's inaugural project. The story features two painters, one famous and the other struggling but both infatuated with the same delicate rose of a woman, negotiating their ways through art, commerce and love. With this heart-tugging story, Chor finds a vehicle for his baroque impulses, relishing in lavish images and over-the-top emotions.

Cantonese adaptation of Daphne du Maurier's novel Rebecca.

Cantonese adaptation of Daphne du Maurier's novel Rebecca.

Married and with a son on the way, Zhang takes shelter in a big old house haunted by a ghostly female vampire.

Adapted from a popular 'three dime novel' the story revolves around two down-and-out buddies, one streetwise and quick-witted the other naïve and kind-hearted. This oddball duo go through up and downs and eventually get their break in life.

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.

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.

Lau Mung-mui chances on To Lai-leung and their encounter transcends to a rendezvous in their dreams. They admire each other, but they do not know each other's names and addresses. They keep on thinking of each other and decide to take each other as their future husband and wife. Mui's father wants his son to get married, but he pays no attention to his father's wishes. Mui leaves home to look for Leung. Leung's father forces his daughter to marry her rich and powerful cousin. Leung becomes despondent and dies, following an arranged marriage with her cousin. Mui sought everywhere for Leung for three years, but to no avail. He locates the home of Leung, but the household has moved out. The house is guarded by an old servant. Mui, chasing Leung's spirit, has a brief romance with her. Acknowledging that their union will be hindered by their incompatibility as a mortal and a spirit, Leung reincarnates as a mortal so that their love may be rekindled.

Kam Fan and Wong Ching-ping have a peaceful married life, until Ping's mother is serious ill. They desperately need a large amount of money. Fan tries in vain to raise money, he thus intends to use their daughter's school fees for the medical fees. Ping is against it and works as a song girl to earn money for her mother's medical expense. Her grudging husband Kam Fan uses a bed sheet to partition the bedroom into halves and even demands a divorce. After some mediation by their lawyer and neighbours, Wong finds a teaching job at an orphanage, but Fan still opposes it. Ping is so angry that she moves to live in the dormitory of the orphanage. Fan has to look after their daughter alone, making everything a mess. Later, their daughter catches a cold and has a high fever after an outing with Fan. Ping cannot set her mind at rest and goes home to take care of her daughter. The loving couple reconciles, for the sake of their daughter.

"Family" (1953), which launched the Union Film legacy, "Spring" (1953) and "Autumn" (1954) are adaptations of Ba Jin's highly regarded novel "Torrent Trilogy". In "Family", director Ng Wui skilfully condenses the voluminous first part of the novel into an emotionally powerful and intellectually focused story of youngsters struggling to survive oppression and repression in a feudalistic family. This well-received film quickly established the company's reputation.

A prodigal son is married to a woman his mother dislikes. The wife is then expelled from the family circle and forced to become independent.