Who are the "Big Three" of Hong Kong movies?

Run Run Run Shaw, Zou Wenhuai and Loke Wan Tho.

Shao Yifu (1907165438+10/9-2014 65438+17 October), formerly known as Shao Renleng, was born in Zhenhai, Ningbo, Zhejiang. Honorary Chairman of TVB Television Broadcasting Co., Ltd. and one of the founders of Shaw Film Company. Run Run Run Shaw founded Shaw Brothers Film Company in Hong Kong on 1958, and has made more than 1000 Chinese films so far. On 20 1 1 year, he officially retired, and in 20 14 year, 1.7 year, Shao Yifu died and enjoyed his life 107 year.

Zou Wenhuai (1927101October 8-201811October 2) was born in Hong Kong and was born in dapu county, Meizhou City, Guangdong Province. Founder of Jiahe Film, Chairman and Executive Director of Jiahe Film (Group). 1957, Zou Wenhuai joined Shaw Group, 1970, founded Jiahe Film Industry. The company fought against the Shaw Brothers in the 1970s and 1980s. He and Shaw were regarded as Hong Kong films, Taishan Beidou.

In 2007, Zou Wenhuai sold all Jiahe shares to orange sky entertainment, and retired from the film industry. 20 1 18 years12 October, Zou Wenhuai died at the age of 9 1 year.

Loke Wan Tho (1915-1964 June) is a famous filmmaker in Xingang, the founder of Guotai Group, Yonghua Film and International Film Co., Ltd., an ornithologist and photographer. Born in Heshan, Guangdong, 19 15 was born in Kuala Lumpur, and 1964 died in a plane crash in Taiwan Province province.

Extended data

The golden age of Hong Kong film;

The 1970s was an important turning point in the popularization of Hong Kong culture. With the popularization of television, the development of social economy and even the change of Hong Kong people's mentality, Hong Kong films in the 1970s tend to be diversified and realistic.

Following the fierce momentum in the mid-1960s, Shaw still occupied a leading position in the Hong Kong film industry in the early 1970s, enjoying the reputation of the film kingdom in Southeast Asia, and produced a large number of martial arts films in Mandarin, with great directors including Chu Yuan, Zhang Che and Liu Jialiang.

They all rely on the familiar swords and swords kung fu films, and the film world is full of strong masculinity. Among them, Zhang Che's films created idol martial arts stars, such as Wang Yu and Alexander Fu. Heroes Don't Cry (1979) is one of Shaw's best-selling kung fu films.

Stepping into 197 1, the sharpness of this ancient costume sword is actually worse than that in the 1960s, probably because of the appearance of a generation of martial arts star Bruce Lee.

Bruce Lee cooperated with the rise of Zou Wenhuai Jiahe Film Company and was all-powerful in the early 1970s. From the first work "Tangshan Mobile" (197 1) to the films "Jingwumen" and "The Raptors Crossing the River" two years later, Bruce Lee entered the international film industry and created the myth of Hong Kong film industry.

1973, Bruce Lee suddenly collapsed, making it impossible to continue the craze for kung fu movies. With the popularization of local culture, Hong Kong audiences gradually lost interest in kung fu movies that were far away from reality, and turned to movies that reflected the social situation at that time and satirized reality, which also explained why Chu Yuan's Seventy-two Dungeons became the most popular movie of 1973.

The actors in Seventy-two Changes, such as Adam Cheng and Shen Dianxia, were all TV artists at that time. Because TV had become an important media at that time, they were very attractive to the audience. The success of this film not only created a new film genre in the future, but also revived Cantonese movies.

Since then, many movies have taken the authentic street style, and the actors' interpretation has also had the taste of laughing and cursing. The Xu Shi brothers who jumped from TV to movies were the mainstay of Hong Kong movies in 1970s and 1980s.

Since the mid-1970s, people's dominant reading mode has been the TV mode, and many Cantonese films have been inspired by TV content, such as The True Story of Alfred (1974), Daxiang Village (1974) and The Marriage in distress situation (1975).

Two brothers, Xu Guanwen and Samuel Hui, also jumped out of the box of TV comedies and took to the big screen, shooting a series of very popular comedies with their unique joke formulas: Ghost Horse (1974), Two Horses Almost (1976) and Sales Contract (1978). These films not only made comedies gain unprecedented attention in the history of Hong Kong movies, but also promoted the birth of Kung Fu comedies.

From 65438 to 0978, Yuan Heping directed Snake Skillful Hand and Drunk Boxing, which established the status of Kung Fu comedy and made it the most representative film type in the late 1970s. Kung fu comedies leave TV sensibility and attract audiences with intensive kung fu design and humorous juggling style; It can be said that it combines the essence of traditional Kung Fu movies and Xu Shi Brothers comedies. It is no exaggeration to say that Hong Kong movies in the 1970s were the golden age.

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