Scriptwriters, like actors, work on illustrating the truth in life and to educate the audience through the activities of characters and the arrangement of plots. Each script should have its central intention.
There are good scripts and bad scripts. We must first understand the nature of a script. To evaluate a script, we should first look at its central intention and not get lost in whether the plots are bustling. The main thing is to see if its content has any educational value.
Excerpted from Sit Hou (ed.), The Golden Era of Hong Kong Cinema, Holdery Publishing Enterprises, 2000, p. 132.
Chan Man was born in Hong Kong in 1924. His family unable to afford his education, he started working after primary school. During the Japanese Occupation, he was involved in theater and came to know director Tso Kea, following the latter into the Cantonese film industry, first working as production assistant and continuity and later as assistant director.
In 1952, Chan joined a group of dedicated filmmakers to form the legendary company Union Film, which greatly improved the quality of Cantonese cinema and changed the course of Hong Kong film. In the same year, he also played an active role in the forming of the company Sun Luen, another important organization in the progress of Cantonese cinema, producing its inaugural work The Prodigal Son (1952), acclaimed as one of Hong Kong’s best and included in the Hong Kong Film Archive’s 100 Must- See Hong Kong Movies. Within a few years, Chan had joined with director Chun Kim to found the Singapore-based Kong Ngee and, with actor Cheung Ying, formed the company Hoover Film, directing its first work Resurrection (1955). Sun Luen, Union and Kong Ngee constitute three of the Big Four, the most important companies of Cantonese Cinema and Chan was a key figure in all three.
In 1961, Chan partnered with actors Patrick Tse Yin and Patsy Kar Ling to form Brothers Film, directing its initial project Plighted Love (1961). He also founded Lin Ngee in 1965, directing such films as the melodramas The Lovely Red Begonia (1965) and Right to Love (1968).
Although better known for his management role, Chan had directed a number of films and was highly versatile in his repertoire. He was as comfortable in family dramas as romances, comedies, opera films and crime stories. His action film The Dragnaught (1960) is one of the most accomplished Cantonese films of the 1960s. He had also directed several opera films in the Chaozhou (Teochew) dialect.
Chan remained active after the demise of Cantonese cinema, joining Sil-Metropole, reorganized from Sun Luen and other Mandarin film companies, as producer. There, he also made the crime film Duel of Death (1980), his last directorial effort.
After enjoying a highly fruitful career in film, Chan passed away in 2012.
|Year||Chinese name||English name||Directors|
||Duel of Death|
||Always in Your Heart|
||Right to Love|
||One Duel Too Many|
||One Duel Too Many Part 2|
||Sweetness of Love|
||The Lovely Red Begonia|
||Track of a Chase|
||The Eternal Vow|
||The Happy Bride|
||Dream in Peony Pavilion|
||Story of Plum Blossom|
||Pearl in a Bitter Sea|
||Adventures of Genius Boy|
||Love a Splendid Thing|
||Deep in Love|
||The Stormy Night|
||The Tears of Ah Chen|
||Parents' Love Tears|
||Case in the Mansion|
||To Catch a Thief|
||She Married an Overseas Chinese|
||Murder on the Beach||CHOR Yuen|
||Prince & Wild Cat|
||Tan San and Ngo Nian Part 2|