Connie Chan Po-chu was untutored in 1946 to in a bad way parents, one of at lowest amount nine siblings, in Guangdong, Breakables. To expansion their children's probability of survival, Chan's onset parents gave apart some of their youngest to further families. As a resolve, Chan was adopted by Chan Fei-nung and his companion, Kung Fan-hung, who were acknowledged Cantonese opera stars. By means of the 1960s, Connie Chan was one of Hong Kong cinema's utmost dear teen idols.
She made supervisor than 230 cinema in a product of genres: from fixed Cantonese opera and wuxia cinema to contemporary youth musicals; action cinema to comedies; melodramas and romances. Unsettled to her public figure she was dubbed "The Movie-Fan Princess". Her godfather is the late musician Cho Tat Wah. She has a son named Dexter Yeung, who stars in the 2008 TVB Prepared Wasabi Mon Amour and Moonlight Productivity.ContentsCareer
At the age of five and a part she started learning Cantonese opera from her adoptive parents and succeeding became an secondary of Peking opera master Fen Juhua, who was one of the first wuxia actresses in Shanghai finished the 1920s. Equally Connie was nine, she began passing onstage. One meeting succeeding she and Leung Bo-chu (the lass of the great slapstick comedian musician and opera clown Leung Sing-po) were the leading stars of the Reserve Chu Opera Convene. In 1958, Connie made her covering beginning in the Cantonese opera Madam Chun Heung-lin. The watch meeting she played in two Mandarin-language productions for the MP but succeeding to hand fully in wuxia cinema (thoroughly in the company of experienced action stars Yu So Rations, Cho Tat Wah, and perennial bad guy Shih Kien). She also aligned the Sin-Hok Kong-luen Show Company's fasten down of young stars (which included Suet Nei, Nancy Sit Ka-yin, and Kenneth Tsang Kong) and took part in director Chan Lit-ban's revolutionary adaptations of Jin Yong's serialised novels, The Golden Hairpin (1963-64) and The Snowflake Sword (1964). Boundless in three and four parts, these cinema were blockbuster extravaganzas popular for their thorny plots, individual possessions, and combined action strategy. Two cinema in 1965 would give a exaggerate to Chan's career: The Six-Fingered Peer of the realm of the Lute (in which she played the lead male role and which was publicised with the run of her very own fanclub) and The Black Rose (in which director Chor Yuen had the image to change her image by putting her in a contemporary role as a modern-day Robin Hood).
In 1966, her utmost even on-screen assort was Josephine Siao, who had also contrived opera under Fen Juhua. The two were regularly cast as disciples of the exceptionally master and sometimes-when Connie played the male lead -as young heroes in love. Capitalizing on their chemistry, experienced director Lee Tit gave them the lead roles in Indestructible Idea, his re-establish of a popular opera from the 1950s. Erect supervisor successful was Chan Wan's Colourful Young person, which became the box office winner of the meeting and set the bias for Western-style musicals in Cantonese show. From after that on, Connie and Josephine appeared little by little in cinema with contemporary settings but less habitually in each other's company. Both of them were paired off with a product of leading men in a profusion of comedies, musicals, romances, and action cinema. Movie-Fan Princess was a archetype combo of all four genres and, supervisor slightly, the beginning of Connie's four-year on-screen romance with her utmost popular leading man, Lui Kei. And after that put forward was Noble Kindness, Cantonese cinema's retort to 007 that spawned three sequels and fueled the transition from fixed wuxia sheet to contemporary action cinema.
Connie's furious covering output of the previously two years started to unenergetic down a bit. Her contemporary action cinema had played themselves out and she arranged down on-screen with leading man Lui Kei, who now became her utmost even costar in a mixture of comedies, musicals, and romances-most of them directed by Wong Yiu and Chan Wan, who were steadfast for the Chi-luen Show Company's signature youth musicals. Near the help of her close relative, Connie founded her own covering company in 1968. Hung Bo's inaugural characteristic Young person Idea (1968) paired her with Lui Kei. Connie's close relative fashioned the covering and she and Connie's father had small roles. Idea Near a Malaysian Youngster (1969) and Her Suggest Idea (1969), moreover in print and directed by Lui Kei, were the only further cinema fashioned nominated Hung Bo. Indoors a meeting, Connie stopped up making cinema sheer and motivated to San Francisco to extensive her education. Equally she returned to Hong Kong in 1972, she made one prop covering with director Chor Yuen, who had right signed on with Shaw Brothers. The Lizard, a Mandarin-language drive, was Connie's best send-off to the silvery view.
As an be looking for of supervisor than 25 years, Connie Chan emerged from retirement in 1999 to star in a stage drive based on the life of her Master, Yam Kim-fai. Tender Take precedence won great thanks and insolvent documentation with its 100-performance run; it was brought back for a six-week new start in 2005. As Tender Take precedence, Connie starred versus Tony Leung Ka-Fai and Carina Lau in the stage play Red Manufacture, which ran for 64 performances. The play is an mark of respect to the Cantonese Opera troupes that conservatively travelled by schooner nominated the Pearl Rivulet delta domination of Breakables. In 2003 she theatrical a establish of groovy concerts, delighting fans with her treasured covering songs and some Cantonese opera classics; her guest stars included Fung Bo-bo, Nancy Sit Ka-yin, and Maggie Cheung Ho-yee (who played the character based on Connie in the TVB cover establish Old Top Acquaintance and the covering Natives Were the Time).
On 4 February 2006 she performed with the Hong Kong Chinese Crew. Later that meeting she starred with Adam Cheng in the stage play Unaccompanied You, which ran for 70 performances. In January 2007 Connie was honoured with a lasting warfare bequeath at the Hong Kong Amuse yourself Awards.Future filmography
For Superior, For Bring down (1959) Defiance the Tomb to Deliver Close relative (1959) The Unroyal Prince (1960) Filial Enthusiasm (1960) Famous The general public (1960) Han Gong Admission (1961) Honor (1961) The Primate King Stormed the Sea Palace (1962) Competition at Sizhou (1962) How the Charisma Boy on the Legendary Hoist Spin out the Dragon and Saved His Close relative (1962) The Golden Sheath, Parts 1-2 (1963) Red Tall story Steals a Expensive Box (1963) The Golden Hairpin, Parts 2-4 (1963-64) Tall story of the Sword and the Sabre (1965) The Snowflake Sword, Parts 1-4 (1964) The On high Fox (1964), also recurring as The Purple Lightning Sword The Black Rose (1965) The Six-Fingered Peer of the realm of the Lute, Parts 1-3 (1965) The Enraged Buddha's Palm (1965) Indestructible Idea (1966) Movie-Fan Princess (1966) Implication of a Provoke, Parts 1-2 (1966) Girls Are Plants (1966) The Exact Daughter Zhu Zhu (1966) The Black Cause of death (1967) Advantage Not Our Young person (1967) A Ritzy Christmas Shadowy (1967) Paragon of Sword and Penknife, Parts 1-2 (1967-68) Difficult Idea (1968) Four Heroic Plants (1968) The Reincarnation of Noble Violet Bloom (1968) Won't You Permit Me a Kiss? (1968) Young person Idea (1968) Young, Pregnant and Sole (1968) The Dragon Retreat (1968) Honor in the Mist (1968) Idea with a Malaysian Youngster (1969) Her Suggest Idea (1969) The Young Youngster Dares Not Homeward (1970) I'll Get You One Day (1970) The Lizard (1972)
Bibliography
Chan Po-chu-The Princess of Imagine Fans. Hong Kong: Built-up Legislative body of Hong Kong, 1999. The Conception of Warring Arts Films-As Told by Filmmakers and Stars. Hong Kong: Built-up Legislative body of Hong Kong, 1999. ISBN 978-962-8050-06-2 The Unhappy Breed: Cantonese Stars of the Sixties. Hong Kong: Built-up Legislative body of Hong Kong, 1996. ISBN 978-962-7040-50-7 A Investigation of the Hong Kong Swordplay Show (1945-1980); Hong Kong: Built-up Legislative body of Hong Kong, 1981. Fonoroff, Paul. Old Light: A Detailed Trace of Hong Kong Cinema 1920-1970. Hong Kong: Customary Publishing, 1997. ISBN 978-962-04-1304-9 Kar, Law and Straight Bren. Hong Kong Cinema: A Cross-Cultural Hold. Lanham, Maryland: Scarecrow Move forward, 2004. ISBN 978-0-8108-4986-0 Teo, Stephen. Hong Kong Cinema: The Additive Section. London: British Show Institute, 1997. ISBN 978-0-85170-514-9
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