aka Black Rose vs. Black Rose aka Hei mei gui yu hei mei gui aka 黑玫瑰與黑玫瑰 1966 Directed by Chor Yuen
Written by Poon Faan
The sequel to 1965’s Black Rose has a greatly expanded scope, as the Chan sisters go from being champions of the poor to outright superheroes who take down a sinister secret gang intent on robbing jewelry from all over the city. The James Bond influence is very heavy, as there are a lot of gadgets, microbombs, disguises, and hidden identities. The film also has what sounds like an original score that is rather well done as well (and also Bond influenced).
The review of Black Rose has miniprofiles of Nam Hung, Connie Chan, Patrick Tse, and Chor Yuen, so we don’t have to do it here! Hooray for laziness! We also have the overviews of the Jane Bond genre and other interesting links there so we don’t have to link it again here. Spy With My Face is notable because this film was where Connie Chan eclipsed Nam Hung and became a bona fide Hong Kong superstar.
A color print does survive in the HKFA vault, but the VCD release is a black and white dub probably made for TV. This sucks, because it would be great to see all the funky colors. At this point in time Cantonese cinema was on the decline as the Shaw Brothers were becoming the standard with their high production values and massive use of color. Shaw was also putting out their own spy films at this time, some with female leads as well.
Once again we have no subtitles, but TarsTarkas.NET doesn’t need no stinking subtitles! And the wife translated about half of the film before deciding it was time for bed, so the rest I just followed along the story as best I could. It all works out fine.
Chan Mei-Yi (Nam Hung) – The older Chan sister, who is freed from the constant attention of rich bachelors because she spends the whole film helping her friend Cheung. Is Black Rose along with her younger sister.
Chan Mei-Ling (Connie Chan Po-Chu) – The younger Chan sister who is sassy and tough. She doesn’t put up with bad guys’ crap and would just as soon beat the tar out of them as look at them.
Black Rose (Nam Hung and Connie Chan Po-Chu) – Black Rose moves up from Robin Hood thief to gangbuster as the Black Roses save an entire city from an evil criminal element while saving their friend at the same time. Remember, it is only good to steal if you steal from those who deserve to lose it.
Cheung Man Fu (Patrick Tse Yin) – Insurance investigator and subject of Chan Mei-Yi’s attraction. Gets himself caught up in a nasty situation and replaced with an evil duplicate.
Gold Boss (Cheung Wood-Yau) – All my wife could translate of his name was Gold _____ – so we will call him Gold Boss. If he doesn’t like it, he can get bent. Gold Boss runs the secret society that kidnaps Cheung to rob all sorts of rich people. He’s also a refugee from a Mexican Wrestling film. Cheung Wood-Yau was in film for almost thirty years at this point, and only made a few more films before retiring in 1969 (with one later appearance in 1980’s Duel of Death.)
Fake Cheung Man Fu / #1 (Patrick Tse Yin) – Fake Cheung is the most worthless gang member on the team. Had he not undergone surgery to look like Cheung he would be #0 as he would have been fired. Was saving your job really worth the pain? Despite looking like Cheung, he totally doesn’t act like Cheung at all and dresses in dark shirts and sunglasses in order to look like a gangster, thus keeping his innocent insurance investigator cover. Fake Cheung is not the sharpest of tacks.
#2 (Fung Ngai) – The mute gang member. Only a mute guy would put up with being named #2, because that means you can’t hear him complain! Fung Ngai also played #1 in fellow 1966 spy film The Golden Buddha. Among his many other film appearances is Come Drink With Me.
#3 (Wong Hon) – The nerdy gang member who is fourth in charge and has confidence problems. Wong Hon was a Chor Yuen regular, appearing as a policeman in Black Rose, a doctor in Intimate Confessions of a Chinese Courtesan, and many other Chor Yuen films.
aka Hei mei gui aka 黑玫瑰 1965 Directed by Chor Yuen
Written by Hoh Bik-Gin
Welcome to a trip to some classic Cantonese cinema. Not only are we going to review Black Rose, but we’ll be hitting the sequel, The Spy With My Face, as well as one entry from the 1990’s, and an eventual rewrite of our review of Protege De La Rose Noire. Yes, that previous sentence will get edited as the other reviews appear here. Eventually. Maybe.
Black Rose was basically the beginning of the Jane Bond films. It did not start the strong female character/super hero genre, but popularized it to the point where Black Rose is known as the standard bearer of the genre. This blog entry going over some of the wonderful films featured on the SoftFilm blog features a cornucopia of films with strong female leads.
Connie Chan Po-Chu was born in 1947 and is the daughter of two Beijing opera stars (Chan Fei-nung and Kung Fan-hung) She was not only trained in classical opera style (specializing in male roles) but also trained in both Southern and Northern martial arts styles. Connie made her film debut in 1959’s The Scout Master, and became a breakout star in the 1960s. Her last film was 1972’s The Lizard (also her only film for Shaw Brothers and one of the few that still survives in color, The Spy With My Face was filmed in color even if it doesn’t seem to have survived that way.)
Unlike her fellow teen queen Josephine Siao, Connie Chan stepped out of the limelight after her retirement, though she does emerge from time to time in stage presentations on TV (much to the excitement of my in-laws, who spend a frightenly long time trying to capture just her performance from a TV special onto a DVDR despite barely knowing how to turn the computer on.) More information on Connie Chan can be found on Movie Fan Princess. The site is run by duriandave of SoftFilm, who also supplied me with the vcds used to review the two Black Rose films. Check her out in action in Lady Black Cat and The Furious Buddha’s Palm.
Nam Hung was born as Su Manmei. Her mother and sister were also stage actresses, but I don’t think they were in films. The stage name Nam Hung means “fame of the south”. She began stage performing in 1950 and moved to films in 1953. She set up the Rose Film Company in 1962 with future husband Chor Yuen (also the director of this film) She starred in many Chor Yuen and Chan Wan films, and was a coproducer of Black Rose and its sequel. She was also in the original House of 72 Tenants, which was remade and then both inspired Steve Chow’s Kung Fu Hustle. Nam Hung moved to tv in 1976.
Director Chor Yuen was born in 1934 as Cheung Bo-kin, the son of Cheung Wood-yau, a Cantonese cinema actor. After studying chemistry in college, Chor Yuen joined the cinema world, first as a screenwriter (under pen name Chun Yu) and then worked as assistant director to Chun Kim. His directorial debut was The Natural Son in 1959. He helmed all sorts of films over the years. Notable films include 1963’s Tear-laden Rose, 1968’s Winter Love, and 1968’s Young, Pregnant and Unmarried, a comedy capitalizing on the youth craze in Hong Kong (also starring Connie Chan). Chor Yuen joined Cathay in 1969 and started focusing on wuxia films. Then he moved to Shaw Brothers in 1971. Intimate Confessions of a Chinese Courtesan was one of his films there (he later remade it as Lust For Love Of A Chinese Courtesan) Besides the Rose Film Company with Nam Hung, Chor Yuen formed his own company Ligao Film in 1985
Patrick Tse Yin is probably best known to Western film fans as the evil guy in Shaolin Soccer, but he was a huge star in Cantonese film in the 1960s and is a pretty cool dude and leading man. But for people like me who were first exposed to him playing a jerk, we will always have that image stuck in the back of our minds when we see him play good guys. Patrick Tse Yin is the father of Nicholas Tse (seen here with his wife Cecilia Cheung in The Promise.)
The Black Rose series of films goes like so: The 1960’s had the first two entries, Black Rose and The Spy With My Face/Who is That Rose? in 1966. Then there was nothing until a revival in the 1990’s with homage films that are basically love stories to 1950s and 1960s Cantonese cinema. There are three films in this set, 1992’s 92 Legendary La Rose Noire (written and directed by Jeff Lau), 1993’s Rose, Rose, I Love You (directed by Jacky Pang and produced by Jeff Lau), and 1997’s Black Rose 2 (directed by Jeff Lau and Corey Yuen Kwai). The series was recently revived as a vehicle for the pop duo The Twins in 2004 for Protege de la Rose Noire. I doubt there will be any direct sequels to this due to the whole Edison Chen sex photo scandals which enveloped Twin Gillian Chung in its tentacles when she showed up naked online. Teresa Mo was the Black Rose in Protege, continuing the loose connections between the films (she was one of the apprentice Roses in 92 Legendary La Rose Noire.)
The VCDs we watched were without English subtitles, but we don’t need no stinking subtitles! And my lovely wife translated. So take that, not released on DVD film! Continue reading →
aka Haak Ye Maau aka 女賊黑野貓 1966HKMDB Link Directed by Cheung Wai-Gwong
One genre from older Chinese films which is barely known today despite how awesome some of the films are is the Jane Bond genre, which are films with tough female leads who are either spies or thieves or super-heroines who beat the tar out of evil dudes. Women as central figures has a long history in Chinese opera/film, and some of the earliest surviving Chinese films have female fighters as leads. The popularity of James Bond translated to female leads wearing slinky outfits, disguises, and beating up lots of dudes. There was a whole ton of these films produced in the 1960’s, many starring Connie Chan Po-Chu and/or Josephine Siao Fong-Fong. Sadly, many are lost today.
The Jane Bond films were proceeded by films based on the Oriole, the Heroine (Wong Ang) stories, a series of books which were first shown on film in the 1950s. Even those came from the Nuxia (swordswoman) genre, which dates back to at least 1928’s The Burning of Red Lotus Temple, the first martial arts blockbuster and which spawned 18 films total in the series. Here is some more information. There is also an article I wrote on Jane Bond films here, which references several other good articles written on the subject. The most famous of the Jane Bond films is probably the Black Rose films (also starring Connie Chan Po-Chu), which produced a complicated string of pseudo sequels after the one official sequel, which eventually lead to the Protege de la Rose Noire film. Michele Yeoh’s Silver Hawk is also a modern update of the old source stories. The two classic Black Rose films are only available on old VHS tapes, thus we don’t have them.
We do have this old film that made it to DVD, thanks to Chinatown DVD shops and the cheap prices there-in. Lady Black Cat is a heist film starring a thief who is a girl dressed as a cat who steals from the evil rich guy and beats up his goons single-handedly. It has an unrelated sequel, Lady Black Cat Strikes Back, starring essentially the same cast with the same plot (except instead of a diamond being stolen it is a role of microtape.) Director Cheung Wai-Gwong is also credited as Jiang Weiguang depending on your translation methods, he directed the sequel and many many other films from the mid-1940’s until the 1970s. He was also a prolific writer for films during that period.
The internet is helping shed light on this forgotten classic films. Good links in addition to the ones above include Connie Chan – Movie Fan Princess, The Lucha Diaries, Teleport City, Electric Shadows, SoftFilm Blog, Illuminated Lantern, and probably many more unsung sites that I don’t have links to at the moment. There is not much written about this genre, it has much to discover and reviews are much needed. Do your duty and locate films today, write up reviews tomorrow, and sign up for the Mobile Infantry. Service guarantees citizenship!
There are no subtitles on the DVD, wife translated some of the names and some of the plot, so I have some of the character’s names (but not the main two) My Cantonese is sub-elementary school, but I am slowly but surely catching on to a bit. At TarsTarkas.NET, we don’t need no stinking subtitles, but will accept help from out lovely wife!
Lady Black Cat (Connie Chan Po-Chu) – Lady Black Cat robs from the rich and helps the poor, she’s like Robin Hood except a girl, dressed as a cat lady, and doesn’t lead a band of outlaws in fighting a corrupt government. Besides helping a nice family in this film I am not even sure she gives to the poor that much. But she does stand up to Tong Long, who is somehow considered a respectable businessman despite being a corrupt lecherous theif and killer.
Girl Friday (Connie Chan Po-Chu) – Connie Chan Po-Chu’s name is sometimes written as Chen Baozhu. She starred in a bajillion films and was one of the reigning Hong Kong cinema queens in the 1960s (the other was Josephine Siao Fong-Fong.)
Detective (Bowie Wu Fung) – Bumbling detective who is as sharp as a Jello basketball. Bowie Wu Fung was a constant onscreen partner of Connie Chan Po-Chu, they were in too many movies together for me to count, because I am lazy.
Tong Long (Sek Kin) – The movie’s bad guy. He is a rich evil guy, I don’t know how he got so much money, why everyone in the city seems unemployed except by him, and why no one seems to punish him for being evil except Lady Black Cat. Sek Kin’s name is sometime written as Shi Jian or Shih Kien. He also costarred with Connie Chan in dozens and dozens of films. He usually played the villain character, or people with evil intents. We will give a better biography of him in another review where there is more room in the introduction. As of this writing he was still alive at the age of 95.
Lisa (Yu Mei-Wa) – Mistress of Tong Long who does some of his evil doings, and seems oblivious to his hound dog ways. Or she doesn’t care. Or it excites her. Who knows? Manages to get kidnapped at some point.
Lam Suk-Ying and husband (Fong Sam and Do Ping) – Lam Suk-Ying is in trouble, she and her husband are awash with money troubles. Lam has a sick mom and her father, Ah Cheung, is framed for theft and later killed by Tong Long. And you think you had a bad day!
[adrotate banner=”1″]The best part of the internet is running across films you never knew existed and suddenly have to have. So in a change of pace, we’ll be naming a bunch of films, some of which I have, some of which I am in search of, and some of which no longer exist or are just interesting to look at their poster art. To start with, we are going to go over some Jane Bond films, which is a subgenre from Cantonese cinema which mixes spies with costumed women who kick lots of men’s butts. All of these films look very interesting. The Jane Bond films are a product of the times, when female roles dominated Chinese cinema. There was a period when it was thought that men couldn’t lead movies because most of the theater audience was women. As James Bond influences came in, the Jane Bond films became the Eurospy of Asia. They were also the precursors to the Girls with Guns films that ran rampant in the late 80s and early 90s. As there now seems to be a mini-resurgence across Asia for female action (Chocolate, High Kick Girl, Coweb) maybe Jane Bond will become a grandmother!
There are two main actresses you have to know if you want to watch Jane Bond films: Connie Chan Po-Chu and Josephine Siao Fong-Fong
Connie Chan Po-Chu is the daughter of two Cantonese Opera stars – Chan Fei Nung and Kung Fan Hung. She learned Cantonese Opera from her parents Peking Opera under master Fen Ju Hua and Cantonese Superstar Yam Kim Fai. This made her adept at both the Southern and Northern styles of martial arts and operas. She was one of the most popular actresses in the sixties with an impressive output, 32 films in 1967 alone. One of her nicknames was Movie Princess. She later retired from films in 1974. Go to the fan site Connie Chan Movie Fan Princess for more information than you can shake
Connie Chan’s main contemporary (the only other to approach her in star power) Josephine Siao Fong-Fong. She first appeared in 1954 and two years later won the Best Child Actor award for Orphan Girl. Like Connie Chan, she also had an impressive output in the 1960s, but in 1969 she slowed down her acting to focus on education and marriage (to actor Charlie Chin, which lasted three months – she later remarried and had children) She later appeared on TV as the bumbling plain Jane character Lam Ah Shun in 1977, followed by three films (one of them was Plain Jane to the Rescue, directed by a young John Woo). She is probably best known to fans from the 1990s for her parts as Fong Sai Yuk’s mother in the Fong Sai Yuk films.
The Story of Wong Ang the Heroine
Director : Yam Pang-nin
Scr: Cheng Kang
Cast: Yu So-chau, Wu Lai-chu, Yam Yin
1960 B&W D Beta Cantonese 84mins
The pulp fiction series Oriole, the Flying Heroine, which originated in Shanghai in the 1940s and remained popular in Hong Kong in the 1960s, was a major influence on the Jane Bond films, its titled heroine a precursor of the quick-witted, fast-fisted, and good-hearted Jane. The Story of Wong Ang the Heroine, adapted from the series before Hollywood’s James Bond tidal wave, provides interesting study on the impact of the 007 craze on Hong Kong popular culture.
Black Rose
Dir: Chor Yuen
Scr: Ho Pik-kin
Cast: Nam Hung, Connie Chan Po-chu, Patrick Tse Yin
1965 B&W Beta SP Cantonese 94min
Director Chor Yuen had always been eager and also skillful in incorporating Western influence in his work, and his introduction of James Bond elements into Black Rose likely kickstarted the Jane Bond genre. This was in turn thrown into the mix with the Cantonese cinema’s penchant for combining the relatively new Jade Girl phenomenon of Chinese cinema with the longtime tradition of xia dao, a Robin Hood-like figure who steals from the rich and gives to the poor. The film was a box-office success, spurning imitators that quickly materialized into a genre.
Reviewed on TarsTarkas.NET here
The classic of the genre, which had only one true sequel, Spy with My Face. There were many spinoffs involving the character that came along much later. A great retrospective of Black Rose and its sequels/spinoffs at The Illuminated Lantern
Spy with My Face
Dir: Chor Yuen
Scr: Poon Fan
Cast: Nam Hung, Patrick Tse Yin, Connie Chan Po-chu
1966 B&W + Colour D Beta Cantonese 102min
This sequel to Black Rose further sets the Jane Bond genre on its course. Director Chor Yuen, emboldened by the success of the original, takes the Bond influence up a notch. The arch villain is not just a crooked businessman, but the head of a powerful crime syndicate, lording over an army of thugs while headquartered in a secret hideout equipped with an endless array of high/low-tech devices. And Connie Chan Po-chu, with her embodiment of both the fairy Jade Girl and the fierce fighting woman, eclipses Nam Hung as the film’s true star, establishing herself as the Jane Bond prototype.
92 the Legendary la Rose Noire
Dir / Scr: Jeff Lau
Cast: Wong Wan-sze, Fung Bo-bo, Leung Ka-fai, Maggie Siu, Teresa Mo
1992 Colour 35mm Cantonese Chi&Eng Subtitles 95min
92 the Legendary la Rose Noire is not only a surprise hit when it was released in 1992 but also a phenomenon that defined its time. The film’s irreverent drama and director Jeff Lau’s genius in taking audience imagination through time and space captured the spirit of early 1990s Hong Kong and the then colony’s awkward awareness of its own history. And the way the film invests its dramatic capital on and draws mythical power from the character Black Rose is an illustration of how much the Jane Bond figure embodies the unique qualities that make Hong Kong what it was and what it is.
Three entries in the saga: 92 the Legendary la Rose Noire; Rose, Rose, I Love You; and Legendary La Rose Noire II (AKA Black Rose II) And the Twins movie Protege de la Rose Noire is another attempt to add on to the Black Rose mythos.
Overview in the Illuminated Lantern Entry listed above. I have recently gotten a copy of this for review, so hopefully it will show up here sometime this year.
The Dark Heroine Muk Lan-fa
Dir: Law Chi
Scr: Lau Ling-fung
Cast: Suet Nei, Kenneth Tsang Kong, Sek Kin
1966 B&W D.Beta Cantonese 105min
The Dark Heroine Muk Lan-fa is a popular series of pulp fiction in the 1960s. Written by the prolific martial arts author Ni Kuang, it is in many ways an update of the Shanghai originated Oriole, the Flying Heroine, more suited for the emerging metropolis that was Hong Kong. This cinematic update infuses Ni’s colourful plots with again Bond elements, from spy characters to secret hideouts to death-ray watches. The casting of Suet Nei instead of the obligatory Connie Chan Po-chu and Josephine Siao as the action woman in black tights represents a validation of the Jane Bond formula, which is proven to work here without the iconic superstars.
There are three films in the Dark Heroine series: The Dark Heroine Muk Lan-fa, The Dark Heroine Shattered the Black Dragon Gang, and Lady in Black Cracks the Gate of Hell. All three are available unsubtitled on VCD. A great overview can be found at the Lucha Diaries site.
The Golden Buddha
Dir: Lo Wei
Scr: Shi Wei
Cast: Jeanette Lin Tsui, Paul Chang Chung, Lo Wei
1966 Colour D Beta Mandarin Chi & Eng Subtitles 102min
The Golden Buddha is a prime example of Shaw Brothers’ action offensive in the mid-1960s, with generous production budgets that allowed for explosive action sequences and locations filming in Thailand to add a touch of international exoticism. Bond influence is evident in every turn, but the film’s unbridled machismo differs greatly from the women-centered sensibilities of Spy with My Face, which was released the same year on the Cantonese front.
A shaw brother entry and an answer to the James Bond films, complete with crazy villains, evil lairs, and gadgets. I got a copy of this one and hopefully will be able to go over it soon.
The Precious Mirror (aka The Maiden Thief)
Dir: Chor Yuen
Scr: Szeto On
Cast: Josephine Siao, Lui Kay, Leung Sing-po, Lee Hong-kum
1967 B&W D Beta Cantonese 94min
Jane Bonds almost always lead comfortable middle-class lifestyles, complete with all the Westernized trimmings. How do they pay for it? The answer is simple: by stealing. Because of Hong Kong cinema’s mandate to avoid politics, the Jane Bond film often takes on the flavour of jewel theft films, its moral ambiguity justified by the heroine’s Robin Hood-like exploits. The Precious Mirror is one of the genre’s better films, largely due to director Chor Yuen’s delicate touch in blending comedy with action and Josephine Siao’s wonderfully natural performance.
The Mysterious Sisters (aka Two Sisters Who Steal)
Dir: Ng Wui
Scr: Man Min
Cast: Suet Nei, Woo Fung, Fung Bo-bo, Sek Kin
1969 Colour 16mm Cantonese 97min
As the Jane Bond films evolved, the genre became less Bond-like, cutting down on the staging of fights and the flaunting of secret weapons. The heroine remained an action figure, complete with quick wits and agile prowess, but the stories increasingly took on the jewel theft plot. The Mysterious Sisters is especially noteworthy, in director Ng Wui rendering of the theft in the classic French film Rififi, with long stretches of action that unfold without dialogue.
Temptress of a Thousand Faces
Dir: Chung Chang-hwa
Scr: Sung Kim
Cast: Tina Chin Fei, Pat Ting Hung, Chen Liang
1969 Colour D Beta Mandarin Chi & Eng Subtitles 77min
The Mandarin cinema’s action offensive in the mid-1960s successfully captured the fancy of male audience and its spy flicks are more male-oriented than their Cantonese counterparts. The Jane Bond figure of Temptress of a Thousand Faces is a cop with all the requisite trimmings, yet she is regularly paraded in situations that highlight actress Tina Chin Fei’s sexuality, the most obvious of which is when she has to climb down the side of a 17-storey high-rise, wearing a revealing miniskirt.
Another film with a great review at Lucha Diaries. I have a copy as well that is on my ever-increasing pile of films to watch.
Other Films:
She Is Our Senior
1967
Director: Chan Lit-ban
Cast: Connie Chan, Kenneth Tsang Kong, Law Oi-seung
Another good review from Todd of the Lucha Diaries, this time at Connie Chan Fan Movie Princess site.
Lady Black Cat (1966) and Lady Black Cat Strikes Again (1967)
Despite being sequels, the films feature different characters even though the plot follows roughly the same progression and most of the actors are the same. Lady Black Cat steals from the rich and helps the poor, all while being a swinging 1960’s Chinese girl.
Hey, let’s link to our review of Lady Black Cat, because I am all about self-pimpage!
The Blonde Hair Monster (1962)
Director: Wong Fung
Cast: Connie Chan, Yu So-chow, Tso Tat-wah, Sek Kin
Great review with lots of pictures at Connie Chan: Movie-Fan Princess
The Lady Killer aka The Batgirl
Starring Josephine Siao
Pictures at the Soft Film blog here and here. Unfortunately, this film is believed lost.
Lady Bond aka Chivalrous Girl
1966
starring: Connie Chan
The Lady Bond series is the answer to James Bond. None of the films are available on DVD as of this writing.
There are three followups in this series
The Return of Lady Bond gives us this song:
The Flying Killer
Directed by Mok Hon-si
Starring Connie Chan Po-chu, Lydia Shum Din-ha and Sek Kin
Another entry in the Lady Bond series. Review
Lady in Distress: The Invincible Fighter (1967)
director Mok Hong-See
starring Connie Chan Po-Chu, Lui Kei, Tam Bing-Man, Sek Kin, Yue Ming
Another film in the Lady Bond series
All four films co-starred Cantonese cinema’s all-purpose leading man Wu Fung, Fanny Fan (who had just reignited her sex bomb image in Shaw Brothers’ The Golden Buddha), and Cathay hunk Roy Chiao Hung (who was branching out into Cantonese films).
So Ching in Gold Button (1966)
So Ching also starred in the non-Jane Bond films The Golden Bat (1966) and Return of the Golden Bat (1966)
These are not all of the Jane Bond films, just a nice overview. I don’t know if there is a comprehensive guide to them out there. But pieces are being put together here and there, and as more films show up on vcd or DVD a more complete picture of the surviving films can be shown.
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