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 A Sketch of MP & GI's Golden Age Law Kar 
Photo taken in the 6th Asian Film Festival. (Front row from left) Wang Lai, Kitty Ting Hao, Julie Yeh Feng, Jeannette Lin Tsui, Loke Wan-tho, Lucilla You Min, Helen Li Mei, Christine Pai Lu-ming, Dolly Soo Fong and Nellie Chin Yu; (back row from left) Robert Chung, Tang Huang, Lai Chin, Cheung Ching, Chang Yang, Wang Tianlin, Evan Young. (Photo courtesy of Ms Meileen Choo) Motion Picture & General Investment Co Ltd (MP & GI), at the very beginning of its establishment. Top boss Loke Wan-tho, general manager Robert Chung, and production supervisor Stephen Soong were well educated in the Western school of thoughts. They admired ardently the Hollywood dream world, and yet took pride in traditional Chinese culture. Its pool of key screenwriters-directors Yue Feng, Tao Chin, Evan Young, Eileen Chang, Nellie Chin Yu all hailed from a similar background. From day one, MP & GI had in mind the notion to incorporate elements of the East and West in their films, or more aptly put, the tendency to modernise the traditional. The first seven years of MP & GI era (1957-65) had largely realised this notion. Its mainstream productions modeled on popular dramas, romantic melodramas, and light comedies of the West which fell back on a dramatic backbone, as well as on the Hollywood school of dance dramas and musicals. Though the form and style are reminiscent of Hollywood products, the sentiments are essentially Chinese, only that they are all trying hard to beat about the post-war trauma and poverty bush and direct themselves to bourgeois sentiments. It even gradually merged with the Hong Kong society towards the end of the 1950s, producing the likes of Mambo Girl (1957), Spring Song (1959), Air Hostess (1959), Bachelors Beware (1960), The Wild, Wild Rose (1960), The Greatest Civil War on Earth (1961), Education of Love (1961), Star of Hong Kong (1961), and The Greatest Wedding on Earth (1962). Though the treatment of the subject matters prevents it from closing on the real life, MP & GI has at least voiced its concerns, by gesturing to the audience to freely escape into a half-dream, half-reality realm. It has also firmly established its own house style -- warm and tender, sad but rarely tragic, truly reflecting its middle class concerns. Of the many films, the trilogy of The Greatest Civil War on Earth shines with its positive portrayals of the conflicts and similarities between Hong Kong people and its close relations from the Mainland. Its freshness, wit and humour far outweigh the overdose of local favours. 
(From Left) Lucilla You Min, Julie Yeh Feng and Grace Chang in Sun, Moon and Star (1961). The years between 1957 and 1963 were the heyday of MP & GI. Since 1963, perhaps the company was busying fencing off Shaw's advances, its strategies had plunged into passivity. Not only was the development of genres stagnant, new ideas stopped to breed, and productions failed to disentangle themselves from the already worn-out folktale period dramas and Huangmei (Yellow Plum) musicals. MP & GI failed to make up for the losses of backbone members such as Stephen Soong, Tao Chin, Yue Feng, Wang Liuzhao, and Linda Lin Dai to Shaws, and the subsequent withdrawals of Grace Chang, Lucilla You Min, and Eileen Chang after 1964. Having no luck in recruiting and cultivating on and off screen talents to fill the vacuum, MP & GI found itself trapped in a fast knot. The years between 1964 and 1967 were a turbulent time which saw the surfacing of societal conflicts and protests voiced by impetuous youths. Yet MP & GI failed to change its tune from the mellow tenderness, sentimentality, and the usual promise of grand reunions to one which echoed the voice of a repressed and angry generation. Inevitably, the company fell behind a new sophisticated terrain. Robert Chung's resignation in 1962 and Loke Wan-tho's tragic death in an air disaster two years later triggered off a series of management changes. It is then not surprising that the company went on a decline after 1967. MP & GI's artistic contribution is the making of a movie series that blends aptly elements of the East and West to cater for bourgeois interests still being savoured today. Its contributions to the industry are the introduction of the star-system and lending of support to independents. Since the early 50s, MP & GI had been financing independent Mandarin and Cantonese films, and in the 60s, provided distributing channels for independents such as Golden Dragon Films (established by Yan Jun and Li Lihua), Jinquan Film Company (established by Kuang Yinquan), then later for Jinying Film Company (established by Yuan Qiufeng and Betty Loh Tih), and Raymond Chow's Golden Harvest after his breakaway from Shaws. The actor training class had bred such fine talents as Lai Chin, Kitty Ting Hao, Dolly Soo Fong, Maggie Li, Tien Ching, and Cheung Ching. Few have noticed MP & GI's over seventy Cantonese films produced between the years 1955 and 64, including The Romance of Jade Hall (1957) which grossed over a staggering HK$ 400,000 at the box office.* Noted works such as Our Sister Hedy (1957), Beware of Pickpockets (1958), Little Darling (1958), Pretty Tease (1958) and The Scout Master (1959) were dubbed into Cantonese released alongside the Mandarin version. Yet no other films can better illustrate the efforts in fusing the bilingual (Cantonese and Mandarin) and bicultural (southerners vs northerners) camps than the The Greatest Civil War on Earth trilogy.  * Editor's note: For more info on MP & GI's Cantonese features, please refer to the unpublished interviews of Tau Hon-fun et al for the HKFA's Oral History Project. Law Kar is a veteran film critic specialising in Hong Kong film history. He has been programming for the Hong Kong International Film Festival since 1989. Currently, he is the Programmer of HKFA. |