Hong Kong Mermaids 1950

Hong Kong horror movie from 1950.

The Razor's Edge 1949

Fang Zhi Ping spend days and nights drinking without regard to his dying father, after the death of his father, he plans to kill his brother Zhi Gang, bought the maid Fusheng in Zhi Gang poison in the medicine to cause his death, Zhi Gang ghosts often appear to haunt him, and he mistakenly killed his girlfriend Zhu Manzhen and cousin Wang Suying, Zhi Gang ghosts retaliate by killing Fusheng, Fang Zhi Ping is vicious but thought of evil, and when the alarm clock rings he wakes up to find that it is a dream and stops the poisoning of Fusheng's story.

Our Husband 1949

Li's first directorial work in Hong Kong is adapted, by himself, from the Hollywood movie The Great Lie (1941) starring Bette Davis. When a husband disappears in an accident, the wife is dismayed by a social butterfly pregnant with her husband's child. To preserve the husband's blood line, the wife takes care of the expectant mother and raises the child. Featuring the two ravishing beauties Li Lihua and Sun Jinglu, Our Husband foregoes juicy feuds between the leads and delivers an allegorical message: parents should provide an ideal environment for the next generation. Addressing the rocky times in China, it is equally overt in its remonstration as Yung Hwa's earlier works, The Soul of China and Sorrows of the Forbidden City.

Orioles Banished from the Flowers 1948

"Among the many filmmakers who immigrated to Hong Kong after WWII was theater tycoon Jiang Boying, who established the company Great China in 1946, inviting fellow migrants to work on the first post-war Mandarin films of Hong Kong. Their hearts still anchored in Shanghai, they made films catered to the mainland market, with production modes of the former glory days. Fan Peilin, a virtuoso in musicals, was invited south to make Orioles Banished from the Flowers, dying in the crash of the returning flight. The only two films Fan made in Hong Kong–the other one Song of the Songstress–are thus his last. Both star the singing-acting superstar Zhou Xuan. In this MusCom–musical comedy–Zhou plays not the hapless songstress but a vivacious, willful youngster, rollicking between a young man and his girlfriend, resulting in a series of embarrassing but amusing situations. A remarkable sample of transplanted Shanghai-style entertainment."-- Hong Kong Film Archive

Marriage Symphony 1944

Two Generations of Women 1943