Ticketing
3 Feb ‑ 8 Sep 2019 (everyday)
50 Lei King Road, Sai Wan Ho, Hong Kong
$55
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New Arabian Nights(1947):10/2 (Sun) 12:00
Prince of Thieves (1958):10/2 (Sun) 17:30
Middle Eastern folktale collection One Thousand and One Nights has been greatly treasured by Western storytellers who are fascinated by the fantastic world within. The exoticism conveyed in Western film adaptations greatly appealed to Cantonese opera and film writer Ma Si-tsang, who adapted The Thief of Bagdad (1924) into Cantonese opera The Prince of Thieves, set in an ancient empire influenced by both East and West. In 1958, director Luk Bong adapted the play into a film, turning the thief of the original film into a Robin Hood-esque hero who poses as a prince to compete for the princess' hand in marriage.

Snow White and the Seven Fellows (1955):3/3 (Sun) 12:00
Snow White (1916) :3/3 (Sun) 17:30

The Brothers Grimm's Snow White has been adapted into different art forms around the world, including the beloved 1937 animated film by Walt Disney Studios. Similar to that version, Chow Sze-luk and Lo Yu-kei's adaptation is a light-hearted musical romance, but the Cantonese version's stepmother doesn't have a magic mirror, nor does she care if she's the prettiest of them all. The two also adds intentional Chinese touches to the story, even replacing the iconic poisoned apple with a Chinese BBQ pork bun. However, one thing does remain: the heroic prince rides on a white horse to save the day.

Eternal Love (1952) :7/4 (Sun) 12:00
Carrie (1955) :7/4 (Sun) 17:30

When it was published in 1900, Sister Carrie attracted controversy for the perceived immorality of its characters. Afraid of being attacked as immoral in the post-McCarthy era, the studio behind the 1952 film adaptation cleaned up the story considerably, taking away the heroine's thirst for vanity and turning her into a tragic character caught in circumstances out of her control. The end of the film, which sees Carrie becoming a star stage actress, almost seems like good karma for all the misfortunes she has encountered.

Anna (1955) :5/5 (Sun) 12:00
Anna Karenina (1935) :5/5 (Sun) 17:30

Leo Tolstoy's masterpiece has been adapted to film at least 20 times, but Lee Sun-fung's Anna remains the sole Chinese version. Set in 1950s Hong Kong and Macau, the film is no longer a love story, but a progressive film that condemns antiquated values such as fidelity, obedience and repression. It simplfies the complex husband-wife relationship of the novel into a clash between an oppressor and the oppressed. As the controllng husband, Ma Si-tsang represents malicious traditional patriarchal values that have repressed women throughout history. Lee, however, invites the audience to contemplate those values by giving the film an open ending.

The Wedding Night (1956):2/6 (Sun) 12:00
A Night to Remember (1961):2/6 (Sun) 17:30

The Wedding Night transports the story to the Warlord Era of Republican China. Before her wedding, the heroine writes a letter to her fiancé about being raped by a soldier. However, the letter ends up in the wrong hands. When the wedding is called off by the fiancé's father, the heroine and her fiancé both have an awakening and retake their marital autonomy, breaking away from the confines of Confucian ethics.

The Spoiled Princess (1948):7/7 (Sun) 12:00
Unruly Princess, Arrogant Husband
(1961):7/7 (Sun) 17:30
The 1920s and 30s saw Cantonese opera flourish in Hong Kong. The intense rivalry between Sit Kok-sin and Ma Si-tsang's respective troupes led to a large number of new plays, many of which were adapted from foreign literary works and films. One of those plays took the core story of Taming of the Shrew and transformed it into a comedy about an unruly princess and her arrogant husband starring Ma and Hung Sin Nui.

The Inspector General (1955):4/8 (Sun) 12:00
The Prince Incognito (1961):4/8 (Sun) 17:30

Nikolai Gogol's The Inspector General is a satire play well-known around the world. In the period between the end of World War II and the 1960s, the play was adapted in Hong Kong cinema a total of six times. Director Huang Yu alone adapted it twice, as a Republic era story and a period comedy, respectively. The 1955 Republic era-set film is more faithful to its source material, following a spoiled rich brat who is mistaken as a government inspector in a small town and ends up being wined and dined by a corrupted local official.

The Beauty and the Dumb (1954):9/8 (Sun) 12:00
Precious Daughter​ (1956):9/8 (Sun) 17:30

The Beauty and the Dumb follows the couple from their meet-cute to the misunderstandings they encounter before the inevitable happy ending. The heir of a bank (Huang He) falls in love at first sight with one of the employees' daughter (Li Lihua), but their burgeoning relationship is nearly derailed when the girl's father intervenes to help his dumb daughter land a rich husband.
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