Li Hsiang-Chun

Tu Cheng Kang (Guan Shan) teaches at the Ta Tap Middle School where pupils are delinquent. Tu’s class is the worst. As the headmaster and his fellow teachers are unable to cope with the unruly students, Tu is determined to win them over with kindness. He fails initially but does not despair. Kao Te Sheng (Chuen Yuen), nicknamed the One Eyed Dragon, is the chief troublemaker and leader. When Kao’s father, a coolie, faints at the wharf from over work, Tu takes him to the hospital and befriends him. The old man does not realize Tu is his son’s teacher and neither does Te Sheng realize that his teacher had saved his father, he continues to oppose Tu.

Ivy Ling Po plays the dedicated wife of a man being blackmailed for an illicit love affair, who uncovers a pit of deceit, double-crosses, extortion and murder after murder.

The Monk, Monkey and Pigsy find themselves in the title realm, where women can only give birth to women...unless loved by a man

Два с половиной тысячелетия назад Китай был раздроблен и отдельные провинции вели друг с другом войну не на жизнь, а на смерть. Отважный юный воин Ни Жанг готовится к вторжению сил Цин, обучаясь владению мечом у мастера Ву, но его коллега по школе, взревновав Ни к девушке, в которую был влюблен, представляет мастера Ву бунтовщиком и на школу нападают правительственные войска. Ни Жанг вынужден бежать, но слава о его умелом владении мечом и выдающихся личностных качествах доходит до сбежавшего из дворца министра — по его мнению, только такой человек, как Ни Жанг, может убить коварного советника императора, ведущего провинцию к гибели.

The lovely Li Hsiang-chun stars as a poor beauty who is drugged, ravished, lied to, locked in a burning store room, left to drown, and chased by sword-wielding ruffians, among other things. Her only hope is her betrayer's new wife, played by the strong and sensual Ivy Ling Po. Dawn may come, but the questions is: will it be too late? Director/writer Kao Li shows both restraint and sadism in this historical melodramatic tearjerker.

Comedy of Mismatches begins with widow Sun who single-handedly raises her son Yu Lang (Chin Feng) and daughter Zhu Yi (Li Hsiang Chun). One day, Mother Sun sends her children to the temple, where Yu Lang encounters Hui Niang (Pat Ting). Artist Xu Ya is also at the temple, praying that his daughter Wen Gu (Carrie Ku) will find a good husband. Soon after, Wen Gu encounters nobleman's son Pei Zheng (Wai Mao) and the two fall in love at first sight.

The noted actress Li Li-hua, star of more than sixty films since 1947, beautifully portrays the drugged, then disgraced wife of a peddler in the waning days of the Ching Dynasty. To make matters worse, she’s soon framed for her husband’s murder by her rapist - the son of the local magistrate! And even that isn’t the end of her woes. It’s best to have a box of tissues nearby as two expert directors ratchet up the emotional suspense in this consummate tearjerker.

Return Of The Phoenix is yet another masterpiece from prolific director Li Han-hsiang. An imperial minister Cheng Pu (Ching Miao) is faced with a quandary. He's getting old and his daughters are still not married. Elder daughter Shueh-yeh (Elizabeth Chuang) is so ugly no one wants her. Younger daughter Shueh-wu (Li Hsiang-chun) is beautiful but Mrs Cheng refuses to let her marry before her elder sister. The drama unfolds when Cheng decides to marry Shueh-wu off.

In this dreamy romance set in China during the fourth-century, a young woman convinces her parents to allow her to dress as a boy and attend university.

Essentially an adaptation of Gaston Leroux's classic The Phantom of the Opera, Mid-Nightmare is set in a Huangmei diao teahouse theatre, which an embittered and horribly disfigured ex-performer ‘haunts', looking to extract revenge on his enemies and falling in love with a talented and beautiful, but ultimately unattainable, ingénue.

The Ching Dynasty novel The Dream of The Red Chamber is not only the most widely read, but also the most filmed book in Chinese history. The sprawling love story has proven a challenge to many filmmakers, but this version is acclaimed as the most successful. A sumptuous feature which took three years of planning and another for production, it was a hugely popular and critical hit which still stands out as a classic of both 18th century literature and 1960s moviemaking.

Perhaps the most notorious concubine in Chinese history, Yang Guifei set a pudgy standard of beauty in her days of glory during the Tang dynasty. The Emperor Minghuang was so besotted with the woman that when An Lushan stages his rebellion against the empire, the ruler takes Yang Guifei along with his imperial entourage in an escape to the mountainous area of modern-day Sichuan, and sanctuary of sorts. But the concubine had roused the jealousy of the court and unfortunately for her and to the great sorrow of the king, her brother and others among the king's retainers demanded she be strangled to death while they were still in the mountains. This is the story told in this interesting Taiwanese adaptation by director Li Han-hsiang (Li Hanxiang).

Long unemployed and stone-broke, Shen Jiaguang is dealt a further blow when his wife Lu Xiaoyin has fallen seriously ill and their son Xiaoguang has to quit school.

A Hong Kong wenyi drama.

A middle-aged couple adopt a young girl.