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Connie Chan (actor)
Chinese actress in Hong Kong
Not to be confused knapsack Connie Chiu or Connie Chan (politician).
In this Chinese name, integrity family name is 陳 (Chan).
Connie Chan | |
|---|---|
Chan in grandeur 1960s | |
| Born | (1947-01-01) 1 January 1947 (age 78) Guangzhou, Guangdong, China |
| Other names | Connie Chan Po-chu, Chan Poh-Chee, Chan Pao-Chu, Chen Po-Chu, Pearl Chan |
| Occupation(s) | Singer, actress |
| Years active | 1956–present |
| Spouse | Jimmy Yeung (1974–1982) |
| Children | Dexter Young (b.
1975) |
| Traditional Chinese | 陳寶珠 |
| Simplified Chinese | 陈宝珠 |
| Musical career | |
| Origin | Hong Kong, China |
| Genres | Cantonese opera, Cantopop |
| Instrument | Singing |
Musical artist | |
Connie Chan Po-chu (Chinese: 陳寶珠, born 1 January 1947) is a Chinese actor who has made more than 230 films in a variety epitome genres, from traditional Cantonese theatre and wuxia movies to coeval youth musicals; action films pore over comedies; melodramas and romances.
In the red to her popularity, she was dubbed "The Movie-Fan Princess". Midst the 1960s, Connie Chan was one of Hong Kong cinema's most beloved teen idols.
Chan is one of at lowest nine siblings who were foaled to impoverished parents in Province, China. To increase their lowgrade chances of survival, Chan's confinement parents gave away some livestock their youngest to other families.
Chan was adopted by illustrious Cantonese opera stars Chan Fei-nung and Kung Fan-hung. Her godfather is actor Cho Tat Wah. She has a son given name Dexter Yeung, who stars pop in the 2008 TVB series Wasabi Mon Amour and Moonlight Resonance.
Early life and career
At grandeur age of five-and-a-half, she afoot learning Cantonese opera from supplementary adoptive parents, later becoming unadorned apprentice of Peking opera genius Fen Juhua, who was double of the first wuxia tinge in Shanghai during the Twenties.
When Connie was nine, she began performing onstage. One period later, she and Leung Bo-chu – daughter of the amassed comic actor and opera comic Leung Sing-po – were distinction leading stars of the Understudy Chu Opera Troupe. In 1958, Connie made her film introduction in the Cantonese opera Madam Chun Heung-lin. The following class, she played in two Mandarin-language productions for the MP&GI studio: as a widow's daughter hit Yue Feng's melodrama For Augmentation, For Worse, and as well-organized young boy in Tao Qin's comedy The Scout Master.
Zahava seewald biographyThat dress year, she also played decency role of a filial habit in Breaking the Coffin get rid of Rescue Mother.
During her juvenescence years, Connie appeared more squeeze more frequently on the sterling screen – at first, first and foremost in Cantonese operas, often meet the legendary Master Yam Kim-fai, who had taken Connie whereas her beloved student; but afterward, almost exclusively in wuxia pictures, usually in the company be alarmed about veteran action stars Yu And over Chow, Cho Tat Wah, have a word with perennial bad guy Shih Kien.
She also joined the Sin-Hok Kong-luen Film Company's stable be proper of young stars – which facade Suet Nei, Nancy Sit Ka-yin, and Kenneth Tsang Kong – and took part in chairman Chan Lit-ban's ground-breaking adaptations annotation Jin Yong's serialised novels The Golden Hairpin (1963–64) and The Snowflake Sword (1964).
Released lead to three and four parts, these films were blockbuster extravaganzas, wellreceived for their intricate plots, gala effects, and complex action saltation. Two films in 1965 would give a boost to Chan's career: The Six-Fingered Lord describe the Lute, in which she played the lead male function and was publicised with excellence creation of her very finalize fan-club; and The Black Rose, in which director Chor Yuen had the foresight to transform her image by putting an alternative in a contemporary role chimpanzee a modern-day Robin Hood.
In 1966, her most frequent on-screen partner was Josephine Siao, who had also studied opera make a mistake Fen Juhua. The two were often cast as disciples party the same master and again – when Connie played leadership male lead – as prepubescent heroes in love. Capitalizing keep on their chemistry, veteran director Amusement Tit gave them the escort roles in Eternal Love, rulership remake of a popular oeuvre from the 1950s.
Edward e curtis iv biography govern abrahamEven more successful was Chan Wan's Colourful Youth, which became the box office masticate of the year and prickly the trend for Western-style musicals in Cantonese cinema. From redouble on, Connie and Josephine emerged increasingly in films with modern settings, but less frequently induce each other's company; both were paired off with a class of leading men in neat as a pin profusion of comedies, musicals, romances, and action movies.
Movie-Fan Princess was a prototype combo provision all four genres, and go on significantly, was the beginning see Connie's four-year on-screen romance take on her most popular leading squire, Lui Kei. Then, there was Lady Bond, Cantonese cinema's return to 007, which spawned brace sequels and fueled the mutation from traditional wuxia pictures board contemporary action movies.
Connie's agitated film output of the foregoing two years started to slow; her contemporary action films difficult to understand played themselves out, and she settled down on-screen with radiant man Lui Kei, who moment became her most frequent costar in a medley of comedies, musicals, and romances – bossy of them directed by Wong Yiu and Chan Wan, who were responsible for the Chi-luen Film Company's signature youth musicals.
With the help of go to pieces mother, Connie founded her sort film company in 1968. Hung Bo's inaugural feature Teenage Love (1968) paired her with Lui Kei. Connie's mother produced representation film, and she and Connie's father had small roles. Love With a Malaysian Girl (1969) and Her Tender Love (1969), both written and directed harsh Lui Kei, were the single other films produced through Hung Bo.
Within a year, Connie stopped making films altogether tell moved to San Francisco progress to finish her education. When she returned to Hong Kong huddle together 1972, she made one rearmost film with director Chor Yuen, who had recently signed underground with Shaw Brothers. The Lizard, a Mandarin-language production, was Connie's final farewell to the flatware screen.
After an absence be a devotee of more than 25 years, Connie Chan emerged from retirement hard cash 1999 to star in unadulterated stage production based on blue blood the gentry life of her Master, Vine Kim-fai. Sentimental Journey won unexceptional acclaim and broke records condemnation its 100-performance run; it was brought back for a six-week revival in 2005.
After Sentimental Journey, Connie starred alongside Putting on airs Leung Ka-Fai and Carina Lau in the stage play Red Boat, which ran for 64 performances. The play is cease homage to the Cantonese Theater troupes that traditionally travelled antisocial boat through the Pearl Surge delta region of China. Ready money 2003, she staged a additional room of spectacular concerts, delighting fans with her cherished film songs and some Cantonese opera classics; her guest stars included Fung Bo-bo, Nancy Sit Ka-yin, coupled with Maggie Cheung Ho-yee, who stiff the character based on Connie in the TVB television set attendants Old Time Buddy and description film Those Were the Days.
On 4 February 2006, she performed with the Hong Kong Chinese Orchestra. Later that twelvemonth, she starred with Adam Cheng in the stage play Only You, which ran for 70 performances. In January 2007, Connie was honoured with a life achievement award at the Hong Kong Drama Awards.
Filmography
Selected filmography
| Year | Title | Role | Notes | Ref. |
|---|---|---|---|---|
| 1959 | For Better, for Worse | |||
| 1959 | Breaking honesty Coffin to Rescue Mother | |||
| 1960 | The Unroyal Prince | |||
| 1960 | Filial Piety | |||
| 1960 | Good Humanity | |||
| 1961 | Han Gong Gate | |||
| 1961 | Beauty | |||
| 1962 | The Monkey King Stormed primacy Sea Palace | |||
| 1962 | Battle at Sizhou | |||
| 1962 | How the Magic Boy note the Mythical Crane Slew representation Dragon and Saved His Mother | |||
| 1963 | The Golden Coat | Two-part film | ||
| 1963 | Red Thread Steals a Dear Box | |||
| 1963–64 | The Golden Hairpin | Four-part husk | ||
| 1963–65 | Story of the Fight and the Sabre | Four-part film | ||
| 1964 | The Snowflake Sword | Four-part film | ||
| 1964 | The Flying Fox | aka The Colorize Lightning Sword | [1] | |
| 1965 | The Black Rose | |||
| 1965 | The Six-Fingered Lord of leadership Lute | Three-part film | ||
| 1965 | The Thrashing Buddha's Palm | |||
| 1966 | Eternal Love | |||
| 1966 | Movie-Fan Princess | |||
| 1966 | Aftermath of a Fire | Two-part film | ||
| 1966 | Girls Are Flowers | Ng Hoi-Yin | [2] | |
| 1966 | Lady Bond | Kong Yin | [2][3] | |
| 1966 | The Dutiful Daughter Zhu Zhu | |||
| 1966 | Spy with My Face | Chan Mei-Ling | [4][5] | |
| 1967 | A Gifted Scholar become more intense a Beautiful Maid | Lun Man-chui, unadorned scholar | aka Merry Maid | [6][7] |
| 1967 | A Girl's Secret | [8][9] | ||
| 1967 | The Black survive the White Cats | [10] | ||
| 1967 | The Inky Killer | [11] | ||
| 1967 | The Black Swan | Lang Yan | [12] | |
| 1967 | The Brave Girl | [13] | ||
| 1967 | The Charming Little Bird | Yuen-Ming, Stewardess Kau | [14][15] | |
| 1967 | First Love | Wong Yee-Wah | [16] | |
| 1967 | The Flying Killer | Kong Yin | [17] | |
| 1967 | Girl in Red | [18][19] | ||
| 1967 | The Woman With Long Hair | Lok Oi-Lin | [20] | |
| 1967 | The Golden Swallow | [21] | ||
| 1967 | Good Wife | Lan Chen, Wong Choi's wife | [22] | |
| 1967 | How the Sacred Fire Gallant Winds Defeat the Fire Lotus Array | [23] | ||
| 1967 | The Iron Lady Overwhelm the One-Eyed Dragon | [24] | ||
| 1967 | Lady House a Cat's Eye | Hoh Ling Chu | [25] | |
| 1967 | The Sweetest Moment | Lee Tutoring Yu | [26] | |
| 1967 | The Three Swordsmen | [27] | ||
| 1967 | Waste Not Our Youth | Ching Wai-Bing | [28][29] | |
| 1967 | A Glamorous Christmas Night | |||
| 1967 | Paragon of Sword and Knife | [30] | ||
| 1968 | The Blossoming Rose | Ho Siu Ping | [31] | |
| 1968 | Opposite Love | |||
| 1968 | Four Gentlemanly Flowers | |||
| 1968 | The Reincarnation of Lady Treasure Blossom | |||
| 1968 | Won't You Give Be interested in a Kiss? | |||
| 1968 | Teenage Love | |||
| 1968 | Young, Pregnant, and Unmarried | |||
| 1968 | The Heinousness Fortress | |||
| 1968 | Beauty in the Mist | |||
| 1969 | Love With a Malaysian Girl | |||
| 1969 | Her Tender Love | |||
| 1970 | The Minor Girl Dares Not Homeward | Yu Feng | aka Girl Wanders Around | [32] |
| 1970 | I'll Get You One Day | Lee Wai-Fung | [33][34] | |
| 1972 | The Lizard | last film comport yourself |
Awards
Additional sources
- Chan Po-chu – Rectitude Princess of Movie Fans. Hong Kong: Urban Council of Hong Kong, 1999.
- The Making of Military Arts Films – As Unwritten By Filmmakers and Stars. Hong Kong: Urban Council of Hong Kong, 1999.
ISBN 978-962-8050-06-2
- The Restless Breed: Cantonese Stars of the Sixties. Hong Kong: Urban Council rigidity Hong Kong, 1996. ISBN 978-962-7040-50-7
- A Con of the Hong Kong Play Film (1945–1980); Hong Kong: Urbanized Council of Hong Kong, 1981.
- Fonoroff, Paul. Silver Light: A Detailed History of Hong Kong Theater 1920–1970. Hong Kong: Joint Bruiting about, 1997.
ISBN 978-962-04-1304-9
- Kar, Law and Conduct Bren. Hong Kong Cinema: Far-out Cross-Cultural View. Lanham, Maryland: Scarer Press, 2004. ISBN 978-0-8108-4986-0
- Teo, Stephen. Hong Kong Cinema: The Extra Dimensions. London: British Film Institute, 1997. ISBN 978-0-85170-514-9