EDITOR’S NOTE: This is the third part of a memoir by Sydney cinephile Barrie Pattison in which he recalls the days of discovering world cinema in places far beyond the mainstream screenings of the day. The previous two parts dealt with Greek cinema and with Italian cinema Click on the links to read the previous pieces.
Showing their elements of Greek and Russian productions, films like these whatever their limitations, helped fill in our world movie map.
|The Bride With White Hair - Brgitte Lin.|
| Ann Hui's Boat People |
|Feng Hsu, Feng Tien & Roy Chao in King Hu's Ying chun ge zhi Fengbo.|| |
| 36th Chamber - Liu Chia Hui|
|Chu Yuen's San shao ye de jian|| |
| City on Fire - Chow yun-fat|
| Maggie Cheung.|
|Angela Mao & Cynthia Rothrock (below, barefoot)|
| Garlands at the Foot |
of the Mountain.
|Jet Li in Cory Yuen's Fong Sei Yu|
last catch penny productions. Just as there had been a definite beginning in the fifties the new century ruled off the activity.
|Jackie Chan - Sammo's |
Qi mou miao ji: Wu fu xing
The big Hong Kong stars and directors fled to Hollywood, where only John Woo thrived, though Sammo Hung landed a TV series and Chow Yun-fat had his greatest success in Ang Lee’s 2000 Wo hu cang long / Crouching Tiger, Hidden Dragon his first kung fu role. Clara Law tried Australia and Michelle Yeoh became a Bond girl. Johnnie To, Wong Ka-wai and comedian-director Stephen Chow remain major film makers, with Ann Hui and Tsui Hark still in production.
| Ann Hui|
retrieving items like Michael Mak’s slick 1988 hostess club drama Sun Moon & Stars /Yue liang, xing xing, tai yang.
| Massage Girls.|