Fung Ying-Seung

Drama from Hong Kong directed by Ng Wui.

Comedy from Hong Kong directed by Chiang Wai-Kwong.

Upon the death of an elderly master, a family has a dispute over the distribution of an inheritance / jewelry and are haunted by ghosts.

When both sides of the family move in with a married couple, chaos reigns.

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.

A wartime drama set in Hong Kong during the Second Sino-Japanese War, when people fled to Hong Kong from Mainland China.

This rare gem features the extraordinary stellar cast of two comedy giants on the same screen and the two Ma's (Ma Si-tsang and Sun Ma Si-tsang) performing together. Leung Sing-por as the wealth-feigning Au and Ma Si-tsang as penny pincher Ma already set the stage for laughter. Ma Si-tsang dons a hilarious moustache and adds panache to the character whenever he complacently twists his moustache, making his greediness almost lovable. The film features a zany plot 'twist' when the two Ma's, as father and son, try to attend a charity gala by having Sun Ma Si-tsang teach Ma Si-tsang to sing ‘Yu Hap-wan Expresses His Inner Feelings', one of the elder Ma's most popular repertoire. Ma Si-tsang gives a commanding seven-minute solo performance that captures the heart of the audience now and forever.

The rapier wit is not only for playful bantering between a couple but also for fighting justice. Famed attorney Sung Sai-kit (Ma Si-tsang) is best known for his sharp pen and silver tongue. His wife Madam Tong (Hung Sin Nui), sympathetic with a wronged widow, tries every trick up her sleeve to get her husband to help. Ma is funny and lovable who morphs from the henpecked husband to the brilliant and shrewd attorney at court, he displays perseverance behind his devil-may-care and nonchalant attitude, even Stephen Chow reincarnated his persona in the 1992 version.

The sophistication of 1950s Hong Kong cinema is vividly illustrated in this film of limited budget and resources. Cantonese opera star Sun Ma Si-tsang plays a country boy who looks exactly like Sun Ma and is asked by a rich girl to impersonate the star, to help her stage an opera. The self-reflexive humour generated by the absurd situation not only provides delicious parody of celebrity culture but also comments subtly on class inequality and the perils of urbanisation. Sun Ma, who also appears as himself in a stage performance, is complemented beautifully by the brilliant comedian Yee Chau-shui as his sidekick and Hung Sin Nui, another opera superstar, as the spoiled and precocious rich girl.

This is a film that celebrates the moral function of art. Sun Ma Si-tsang, at once a master Cantonese opera actor and a talented comedian, showcases an oft-overlooked style of singing, presenting it as an inspirational force that saves life and betters relationships. He plays the titled character, who doesn't operate a boat and is nowhere near bodies of water, but an artist specialising in the Dragon Boat style of music. Forced to perform on the streets to make a living, he ventures into situations manifesting the many societal problems that plague Hong Kong, inspiring and elevating common folks with his artistry. He stars alongside Leung Sing-por in a classic animation of comedy partnership, generating laughter from the interactions between players of contrasting body types.

"Red and White Azaleas" (alias "重訂今生未了緣"), a Hong Kong film produced by the Red and White Film Company, was released in 1951.

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.

Teacher Huang San extends to his pupils the high principles of patriotism, thus arousing the hatred of the occupying Japanese. Huang is forced to flee and to escape from the Japanese clutches. One night, he helps a robber escape from a pursuing Japanese officer by firing his gun and thus unintentionally kills the Japanese. Huang San follows to his hideout and from then on, Huang San joins the bandits. Huang San attempts to rob a house but discovers that the occupant is none other than his student Wang Zhongkang who is involved with the guerrillas. Huang San decides to help Zhongkang raid the military arsenal of the enemy. However, as Huang gradually gains the trust of their chief, some jealous associates within the bandit group informs on him. Huang and Zhongkang carry out their raid amid a fierce confrontation, Zhongkang successfully implements his mission but Huang is killed in the battle.

Club 99 is not just a hideout for triad gangsters, but also a haven for smuggling jewelleries from robbery. When detective Law is investigating a jewellery heist, he is ambushed by the men from Dog Stone (Sek Yin-tsi) who is the owner of Club 99. Then, Law's daughter Fong (Law Yim-hing) helps her father to be undercover and disguises herself as a dancer in the club and gambler Lung (Lam Kau) is also an informant for the police force. While Dog Stone is cunning enough to discover their identities, there are in fact more undercover agents in the club...Influenced by Hollywood's semi-documentary style, the film has a detailed yet complex portrayal of human nature－undercover anxieties, domineering gangsters and moral ambiguity. With its realistic chasing and action sequences, the film is nonetheless a very entertaining piece of cinema.

A swordswoman joins hands with fellow warriors to save her son from the evil monk.

The Kunlun swordsmen carries out a rescue mission to save the little boy who has been abducted by the evil monk. Eager to take revenge on the Kunlun Sect and carry on with his plot to cause chaos, the evil monk seeks help from his fellow brother who uses sorcery to shrink people.

Starring in numerous singing films, Zhou Xuan was one of the most beloved singers in both cinema and recording industries for her 'golden voice'. Popular nightclub singer Zhu Lan (Zhou) is originally in love with impoverished painter Fang Zhiwei (Gu Yelu), but is taken advantage of by rich playboy Ye Chunhua (Wang Hao) at her most vulnerable time. To add to her misfortune, Zhu discovers her being an adoptee. She also learns the heartbreaking truth about her birth parents which intertwines with her own life across generations. Eventually, irreversible tragedy awaits with revenge exacted for past wrongs. In a case of art imitating life, the songstress's life and upbringing resemble Zhou Xuan's own, making the film even more heart-wrenching. The 'Song Fairy' Chen Gexin composed the film's entire music with six songs sung by Zhou. 'Song of a Songstress', sung towards the end of the film, adds poignancy to the film with its discourse on the joy and sorrow in life.

HK horror film.

HK horror film.

Hong Kong horror movie from 1939.

Hong Kong horror movie from 1939.

Two lovers turn into ghosts after their death and now they comedically scare people.