Cinematography
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.
Director of Photography
Ванг Ю здесь играет младшего ученика школы Золотого меча, которого совершенно не воспринимают всерьез его собратья по школе. Он решает уйти из школы, но ревнивая дочь его учителя в порыве ярости отрубает ему правую руку. Его подбирает девушка-отшельница и, поставив на ноги, доверяет ему книгу своего отца, в которой подробно описан стиль однорукого фехтования. Но он уже не хочет сражаться, и лишь долг и признательность учителю вынуждает его вернуться в школу, когда в городе появляется таинственный мастер-убийца, вознамерившийся полностью уничтожить всех последователей школы Золотого меча.
Cinematography
Huangmei Opera movies like The Pearl Phoenix are unique to 1960's Hong Kong culture, a product of the Swinging Sixties but considerably more in touch with their Chinese roots. This one is complete with a gender-bending tale where the male lead is played by female and the female lead poses as a man, plus movie queen Li Ching and the singing voices of Ivy Ling Po and Jing Ting. Sit back and enjoy!
Cinematography
With China under control of a weak Emperor, two officials compete to steer the future destiny of the land. Chiu believes the people are the future of China, while the diabolical Tu wishes to grind the people beneath an iron heel. Tu decides to take out Chiu's family, but one lone infant escapes.
Cinematography
Ling Bo is Lin, a young man engaged to the daughter of a rich man, who now despises Lin because of his family's declining status. Lin visits his beloved fiancee before he heads towards the imperial city to participate in the civil service examination, only to find her maid lying dead in blood. Lin is then accused of murder. How can Judge Bao prove his innocence?
Cinematography
A widow of four gave up two of her children to be raised by an uncle in Singapore. Many years later, just when the widow, now a house maid, is feeling contented by good news of her long gone son and daughter, she accidentally runs into his own son, now a lawyer, and ends up being looked down upon by him. It was a story about how traditional Chinese family and its value was impacted by the change of time. The movie depicted Macau in 1945 to Hong Kong in the mid-60s, moving from poverty after WWII to opulence. The human relationships became complicated and fragile. Many elements uniquely "Hong Kong", such as upper class Chinese, western religions, English speaking and a mixed-culture society are used to contrast the traditional, kind, enduring and forgiving love of a mother.
Cinematography
Seventh sister of the celestial world goes down to earth to marry Dong Yong, a young man sold to servitude. However the Jade Emperor orders her to go back to the immortal world.
Cinematography
A Shaw and Sons production
Cinematography
The Goddess (1934) is remade once again. In this version, Zhu Shilin tackles the anxiety concerning the clash of 20th century Chinese traditions and modern Western culture. Despite her father’s strict discipline, Fun still manages to have a boyfriend secretly and give birth to twins. After leaving her son to her father, she takes off with her daughter. Twenty years later, Fun has become a streetwalker. The three generations finally come face-to-face at the police station. Her father laments that his generation should be ousted while Fun’s generation has been sacrificed, leaving the future for the next generation to establish. Zhu carefully depicts the shame of selling one’s body without passing judgment while he finds balance and reflects on the pain in the age of progress. Even though the production was far from lavish, Zhu’s astute handling of the narrative and mise-en-scène makes this a vivid and exciting film to watch.
