Hong Kong singer Billie Tam (蓓蕾) started off singing traditional ditties and standard shi dai qu but eventually found her success with an image and style more in tune with the times. In 1964 she scored a huge hit with "Enjoy Yourself Tonight", which was subsequently featured in The Joy of Spring (1966). It's one of the "Missing Shaw Films" that I've been dying to see — even more so after getting a glimpse of my favorite tomgirl Allyson Chang Yen in the video below.
Next up is a song from the Cathay film Little Matchmaker (1967). The scene shows an annoyed Zhang Yang stuck on the dance floor with an eager Fanny Fan, but the real attraction is the vivacious and foxy Miss Tam, seen here in a rare on-screen appearance.
Showing posts with label Allyson Chang Yen. Show all posts
Showing posts with label Allyson Chang Yen. Show all posts
Soft Film Goes to the Beach
Here's a trio of treasures that I brought back from my recent trip to Hong Kong and Kuala Lumpur. First up is a rare swimsuit photo of Lucilla Yu Ming — right on the cusp of sweet sixteen — gracing the cover of Screen Voice (August 1952). Lucilla made her debut that year at Shaw and Sons with the film Love in Bloom (玉女懷春).
Now we move from sweet to saucy with the following cover of Spotlight (ca. 1956), featuring baby bombshell Man Lei Hung in a delicious cheesecake pose. She signed up with Shaw's Cantonese division in 1956 but eventually switched to the studio's Mandarin division, where she was reborn as the one and only Fanny Fan.
And last but not least, here's lovely tomboy Allyson Chang Yen on the cover of Companion (September 16, 1964). Like Fanny, she was a product of Shaw's Cantonese unit. When it shut down in 1963, Allyson was kept on by the studio but never quite found a place in the spotlight among the new crop of starlets (Li Ching, Chin Ping, Cheng Pei-pei, et al.).
Now we move from sweet to saucy with the following cover of Spotlight (ca. 1956), featuring baby bombshell Man Lei Hung in a delicious cheesecake pose. She signed up with Shaw's Cantonese division in 1956 but eventually switched to the studio's Mandarin division, where she was reborn as the one and only Fanny Fan.
And last but not least, here's lovely tomboy Allyson Chang Yen on the cover of Companion (September 16, 1964). Like Fanny, she was a product of Shaw's Cantonese unit. When it shut down in 1963, Allyson was kept on by the studio but never quite found a place in the spotlight among the new crop of starlets (Li Ching, Chin Ping, Cheng Pei-pei, et al.).
Buried Treasure: The Missing Shaw Films, Part 2
Here are five more missing Shaw films from the 760 titles that Celestial Pictures acquired from the studio in 2001. During a period of five years some 550 Shaw films were released on DVD at the wallet-emptying rate of 8 to 10 titles per month. Yet, when the releases suddenly stopped at the end of 2007, there were many eagerly awaited films that had not yet appeared. Fans were afraid that Celestial, not making the profit it expected, had decided to cut its losses.
Since then, rumors have occasionally surfaced about the remaining titles. Most recently, an unconfirmed announcement last summer predicted that DVD releases would start up again at the end of 2009. Alas, that never happened. Speculations about future releases are now greeted with the same skepticism as the boy who cried wolf. But the fact that these missing films are listed on the Celestial website, with synopses and sample stills, gives me hope that it's just a matter of time before something is done with them.
The Joy of Spring (1966)
I've always wanted to see this simply because it includes one of my favorite tomboys, Allyson Chang Yen (that's her in the white short shorts). But after recently learning that part of the film involves the characters visiting Shaw Brothers' Movie Town (where they meet Li Lihua, Li Ching, and a host of other Shaw stars playing themselves), I want to see it even more. Although this teen musical melodrama evidently features two suicide attempts, it was hyped in Southern Screen as "the sort of film guaranteed to give you a lift and make you feel great to be alive".
The Mating Season (1966)
Fanny Fan is reason enough to want this film. There she is under the hair dryer, along with perennial playboy Peter Chen Ho. This screwball romance stars Peter and Pat Ting Hung as the managers of rival advertising firms, who — no reward given for guessing this outcome — wind up getting married by the final reel.
Kiss and Kill (1967)
I haven't come across anything about this spy thriller, starring veteran bombshell Diana Chang Chung-wen, in my spotty collection of late 60s Southern Screen magazines, but the stills on Celestial's site are quite enough to hook me. Also featured are Shaw's resident "James Bond" — Paul Chang Chung — and sexy modster, Tina Chin Fei.
The Rainbow (1967)
I'm a sucker for melodramas, and if it involves a depressed, crippled girl (played here by Chin Ping) and psychologically revealing mise-en-scène (like that above), then sell me a front row seat (I'll also settle for a DVD, thank you). Directed by Lo Chen, one of my favorite Shaw directors, The Rainbow promises to be just as deliciously overheated as his Torrent of Desire (1969) and My Son (1970), two films that I absolutely love.
That Tender Age (1967)
"The Season of Youngsters 15 to 20 Years Old" — that's an awkwardly literal translation of the film's Chinese title but undoubtedly a precise description of its target audience. "Made for the young and played by the young", this musical melodrama features "uninhibited performances of the Twist, Pachanga, and the A-Go-Go" (SS). The film was directed by Tao Qin, whose superb melodrama My Dreamboat — available on DVD — was released the same year. (BTW, that's Lily Ho leading the youth train in the photo above.)
Since then, rumors have occasionally surfaced about the remaining titles. Most recently, an unconfirmed announcement last summer predicted that DVD releases would start up again at the end of 2009. Alas, that never happened. Speculations about future releases are now greeted with the same skepticism as the boy who cried wolf. But the fact that these missing films are listed on the Celestial website, with synopses and sample stills, gives me hope that it's just a matter of time before something is done with them.
The Joy of Spring (1966)
I've always wanted to see this simply because it includes one of my favorite tomboys, Allyson Chang Yen (that's her in the white short shorts). But after recently learning that part of the film involves the characters visiting Shaw Brothers' Movie Town (where they meet Li Lihua, Li Ching, and a host of other Shaw stars playing themselves), I want to see it even more. Although this teen musical melodrama evidently features two suicide attempts, it was hyped in Southern Screen as "the sort of film guaranteed to give you a lift and make you feel great to be alive".
The Mating Season (1966)
Fanny Fan is reason enough to want this film. There she is under the hair dryer, along with perennial playboy Peter Chen Ho. This screwball romance stars Peter and Pat Ting Hung as the managers of rival advertising firms, who — no reward given for guessing this outcome — wind up getting married by the final reel.
Kiss and Kill (1967)
I haven't come across anything about this spy thriller, starring veteran bombshell Diana Chang Chung-wen, in my spotty collection of late 60s Southern Screen magazines, but the stills on Celestial's site are quite enough to hook me. Also featured are Shaw's resident "James Bond" — Paul Chang Chung — and sexy modster, Tina Chin Fei.
The Rainbow (1967)
I'm a sucker for melodramas, and if it involves a depressed, crippled girl (played here by Chin Ping) and psychologically revealing mise-en-scène (like that above), then sell me a front row seat (I'll also settle for a DVD, thank you). Directed by Lo Chen, one of my favorite Shaw directors, The Rainbow promises to be just as deliciously overheated as his Torrent of Desire (1969) and My Son (1970), two films that I absolutely love.
That Tender Age (1967)
"The Season of Youngsters 15 to 20 Years Old" — that's an awkwardly literal translation of the film's Chinese title but undoubtedly a precise description of its target audience. "Made for the young and played by the young", this musical melodrama features "uninhibited performances of the Twist, Pachanga, and the A-Go-Go" (SS). The film was directed by Tao Qin, whose superb melodrama My Dreamboat — available on DVD — was released the same year. (BTW, that's Lily Ho leading the youth train in the photo above.)
Gliding on the Sea with Alison Chang Yen!
Oh... Alison... although you were never admitted to the elite ranks of Shaw Brothers stardom, you will always have a special place in my pantheon of Hong Kong actresses. Let the other fans fawn over Li Ching, Cheng Pei Pei, Lily Ho, Chen Ping, and Jenny Hu. That just leaves more of you for me!
What a shame that your sexy girl-next-door look and sporty personality were squandered at Shaws. If I had been the boss, I would have featured you in a series of beach party musicals (costarring Ho Fan and Peng Peng of course), along with a generous smattering of spy thrillers and wuxia films.
Alas, the only thing I can do now is try to draw attention to your under-recognized charms... and maybe start a fan club too!
These pictures appeared in the August, 1967 issue of Hong Kong Movie News. Click here for the original spread.
Patricia Lam Fung: Lost Angel
Lam Yim and Patricia Lam Fung in Women Are Angels
I don't know why I should get so excited about discovering a Lam Fung movie in the pages of Southern Screen that appears to have never been released. It's not as if I can see any of her Shaw Brothers films that did make it to the silver screen. Besides the excitement of discovery and the lure of the unattainable, it must be this great picture of Allyson Chang Yen and Peng Peng that makes me so happy.
As you may know already, I've become a booster for the underused and underappreciated Chang Yen. And the delightful Peng Peng is always welcome in any movie, as far as I'm concerned.
Anyway, Woman Are Angels (女人是天神) looks like a fun film. Too bad it was never released — not that it would have made a difference in me ever being able to see it. Here is the original article from the November 1960 issue of Southern Screen.
Allyson Chang Yen: Beautiful from Every Angle
I just found this article on Allyson Chang Yen while I was browsing my magazine collection for material on Fanny Fan. It's from the July 1966 issue of Asia Entertainments. Boy, I've sure become smitten with Chang Yen. She's spunky, sexy, and super cute. It's a real shame that she never made it up the ranks of stardom during her career at Shaw Brothers.
There is an old Chinese saying which says "a good dress adds to a person's appearance". But in the case of Chang Yen, it is the opposite: her loveliness makes any dress look better. Chang Yen just seems perfect with any style of dresses, her well proportioned figure and the graceful movements acquired through years of ballet dancing have made this possible. On top of all these, Chang Yen is a very sweet and lovely young girl, so there is little wonder that anything she puts on seems to be perfect.
Party with Peng Peng
I must admit that I really identify with Peng Peng's Pigsy in the Shaw Brothers' Journey to the West films. After watching the supremely silly Land of Many Perfumes (1968), I felt a deep compassion for my Inner Pigsy. In the face of this delightful song by Peng Peng, so uninhibited and unashamed, my male-bashing super-ego immediately dissolved into a giant smile of loving kindness.
As chance would have it, there's an issue of Asia Entertainments currently for sale on eBay that has an article about Peng Peng (and the equally well-endowed Leung Sing Po and Lie En Jia). It says that Peng Peng was also the leader of Shaws' house band. And sure enough, there is a wonderful scene of him playing guitar (and tap dancing!) at a house party in Hong Kong Rhapsody (1968). I wish Shaw's musicals featured more scenes like this and less of the stilted stage and fashion shows that always seem to figure as the grand finale. Keep an eye out for the bright and beaming Allyson Chang Yen (in the green dress), who crashes the party with her friends midway through the clip. Yeah... keep singing and dancing!
As chance would have it, there's an issue of Asia Entertainments currently for sale on eBay that has an article about Peng Peng (and the equally well-endowed Leung Sing Po and Lie En Jia). It says that Peng Peng was also the leader of Shaws' house band. And sure enough, there is a wonderful scene of him playing guitar (and tap dancing!) at a house party in Hong Kong Rhapsody (1968). I wish Shaw's musicals featured more scenes like this and less of the stilted stage and fashion shows that always seem to figure as the grand finale. Keep an eye out for the bright and beaming Allyson Chang Yen (in the green dress), who crashes the party with her friends midway through the clip. Yeah... keep singing and dancing!
Little Sister Cheung Yin
I just found this pinup of Cheung Yin (aka Allyson Chang Yen) in the December 1961 issue of Southern Screen. This was when she joined Shaws Cantonese division, before her film career reached a dead-end in the Mandarin division as supporting actress for "prettier" stars like Li Ching (in Susanna and Hong Kong Rhapsody), Chin Ping (in The Joy of Spring and Swan Song), and Fang Yin (in The Mirror and the Lichee and That Man in Chang-An). For some reason, I've taken an interest in Cheung Yin. Maybe it's just sympathy for the underdog, but I can't help feeling that her spunky charm was wasted at Shaw Brothers. Anyway, here is the accompanying article about "Little Sister" Cheung Yin [click on the image for a larger version]...
Allyson Chang Yen: Part Mermaid, Part Wildcat
Last month in my blog entry "Shaw's Bathing Beauties", I posted a picture of seven actresses being groomed for stardom by the Shaw Brothers studio in 1964. One of the young ladies stood out for me, simply by being the only one standing (and not lounging like the others). She was also conspicuous because she was the only one wearing a swimming cap (and holding goggles!), which made me think that she was more a sporty girl than a glamor girl. All of this piqued my curiosity, especially since she never became a big star like some of the other actresses.
It appears that Allyson Chang Yen was a child actor in both Cantonese and Mandarin films throughout the 1950s. She joined Shaw Brothers in 1961 and started acting right away in their Cantonese division in such films as Teenage Beat (1961) and The Four Sisters (1963). Because of her outgoing personality and talent for swimming and water-skiing, she was dubbed "Little Wildcat" and "Little Mermaid". After Shaw Brothers stopped making Cantonese films in 1963, Chang Yen was sent to Japan (along with fellow Shaw girls Chin Ping and Margaret Hsing Hui) to study drama and dancing at the Toho Academy of Performing Arts. Back at Shaw Brothers, she appeared in secondary roles supporting Li Ching and Chin Ping, who had become big stars at the studio. She evidently retired in 1968 after the release of her last film for Shaws, Hong Kong Rhapsody.
From the little that I've seen of her, Chang Yen possessed a buoyant charm and fresh contemporary look. But it seems she never found her place in the Hong Kong movie industry. She was a little too girl-next-door to succeed at Shaw Brothers and not girl-next-door enough for Cantonese audiences at that time. Thankfully, she did have one opportunity to take center stage and strut her stuff before she vanished from the silver screen, here in this memorable scene from a Cantonese film she made in 1967 with Nam Hung and Lui Kei, They All Fall in Love.
Shaw's Bathing Beauties
This picture from the August 1964 issue of The Screen & Stage Pictorial shows seven beauties who were being groomed by Shaw Brothers to become the new generation of starlets that the studio desperately needed at that time. Just one month previously, one of Shaws' greatest assets, box office queen and award-winning actress Lin Dai, killed herself from an overdose of sleeping pills. Her final completed film, The Last Woman of Shang, was released that August. Almost as if waiting in the wings for a chance to take center stage, all seven of these young ladies had bit roles in the film backing up Lin Dai as palace dancers.
Two months later, Cheng Pei Pei got top billing in Lovers' Rock. Three months after that, Li Ching starred alongside Ivy Ling Po in The Mermaid and became known as the "Baby Queen" of Shaw Brothers after receiving the Best Actress Award at the 12th Asian Film Festival for her performance in the film. And in October 1965, Chin Ping helped launch Shaw's "Action Era" with her lead role in The Temple of the Red Lotus. All three actresses became superstars during their tenure at the studio. As for the remaining four, Fang Ying, Angela Yu Chien, Margaret Hsing Hui, and Allyson Chang Yen, they never made it big. It's true, Yu Chien did win Best Supporting Actress Award in 1966 at the 5th Golden Horse Awards for her performance in The Blue and the Black, but after that she got stuck with supporting roles that only capitalized on her sex appeal.
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