Gam chi yuk yip

Rose (Lau) & Sam (Cheung) are a superstar singer and her brilliant manager. They are also lovers. Wing (Yuen), a spunky and resourceful young woman, is one of their biggest fans. When Sam holds a contest to find a new male pop star, Wing cuts her hair and ... you can guess the rest. Misunderstandings and love triangles!

"Tootsie" & "Victor, Victoria" are two movies that deal with similar issues of gender and fame, and this movie is just as entertaining. Anita Yuen is very good (& attractive) as BOTH a boy and a girl, and it's easy to see why Sam and Rose fall for her. Leslie Cheung sings a terrific song called "Chase," and Carina Lau makes a great bossy diva.

This film is my heart. I have watched it too many times and I am already familiar with it. Every time I take it out, I have to wait for it instead of watching a movie. I wait for every funny joke. Play "Chasing" in front of the piano and wait for him to say to her, "Good male and female, I know that I like you." Then I will laugh at every laugh, when "Chasing" sounds The handsome man intoxicated by his different angles will shed tears of joy in the hot kiss at the end of his confession.

I like this fairy tale, to the point where I can't say the plot briefly, I can recite every detail of it, but I won't tell it, because I can't tell more than the movie itself. If I must say, I can only summarize it in four words, the ideal of love, which is the ideal of love, aside from identity, status, appearance and gender, the only thing I care about is the matching of the soul, the important thing is only you. In a comic that I love about homosexual love, the actor has such a fierce confession, "If it were me ... whether he was a man or a woman ... whether it was a cat or a dog, or a plant OK ... the machine ... I will always find him, and ... I will absolutely love him ", every word of this paragraph is knocked on my heart, makes me smile, in the ideal of love, you are You, heaven and earth, and truth, exist when you say it, worship when you make it, and you love me if you call me. So, staying in the sea with flashing eyes, or some boobs, or a flowing white skirt, it does n't matter anymore, even the dark claustrophobia is not important. Kiss up, in the end, Liang Chen and the beautiful scenery have not failed.

Such a person performs a good show and sings a good song. His friends miss it every year after his death. The fans never forget it. Of course it is not difficult to imagine how he treated people with gentleness and loyalty during his lifetime. Thinking of this, dignity cannot be extricated.

Interviewing Chen Kexin, he said this: "In Hong Kong, whether it is his perfectionism, his private life or his acting skills, our minds are too small."

If we can leave you, how good? Do n't say anything that just passed away like this before the demise of the wind, we are equally happy to see you slowly grow old but calm and peaceful face, will not abandon you, just do n't be so tragic, always remember , Touched, and sighed that he couldn't stop himself, it was too cruel.

A double bill of HK director Peter Chan's sexuality topsy-turvy rom-coms, HE'S A WOMAN, SHE'S A MAN is made in 1994, stars Anita Yuen as Lam, an ordinary tomboy and Leslie Cheung as the pop music composer and producer Sam. Lam is a devoted groupie of the red-hot singer Rose (Lau), and as Rose's boyfriend-and-producer, Sam and Rose becomes the apotheosis of a perfect match in Lam's world.

Although a maxim wisely advices never ever get to know your idol in person, when knowing that there is a male-only talent contest organised by Sam, Lam decides to disguise herself as a boy to compete, after a strange combination of circumstances, she is hand-picked and offered a contract to be trained and polished as the next big thing. So now known as Lam Chi Wing, a boy's name, she lives in with Sam in his apartment as his new disciple, meanwhile, she discovers that Sam and Rose's relationship is actually under considerable strains. Lam's intrusion strikes up an odd chemistry with both Rose and Sam, to avert Rose's aggression seduction, she has to admit "he" is gay, while in front of Sam, she must conceal her intensified feelings toward him because sabotaging Sam and Rose is the last thing she intends to do. However, the feelings are mutual, for Sam, he has a more serious struggle to cope with his sudden affection to a "man", which bitingly correlates Leslie's turbulent personal life in reality. But, at the end of the day, all shall be well, Sam shall have Lam, discarding any prejudice of sexuality, a quite uplifting happy-ending which unites them as a conventional one-man-one- woman couple.

The sequel, WHO'S THE WOMAN, WHO'S THE MAN arrives two years later after the original film's huge success, accumulated 2 wins and 10 nominations in HONG KONG FILM AWARD, Antia Yuen was crowned again for BEST ACTRESS, and sets a recording of two consecutive wins in this category in the award's history (her first win is for Tung-Shing Yee's ENDLESS LOVE 1993), continues the story right after the finale of the first chapter, with Rose out of the main picture now, Sam and Lam tries out their cohabitation, which Sam finds it hard to adjust, while Lam's career as a male rising star is going on smoothly, they live with the rumour of being a gay couple. However, a new interloper comes on board, a legendary singer Fan Fan (Mui), who has retired from the limelight 10 years ago, returns to HK and moves into the apartment downstairs, where Rose used to stay, this time, it is Lam's turn to battle her lesbian ardour towards Fan Fan, a mature woman radiant with charisma, which makes Lam wonder, is Sam the right one for her? All the more, the plot gingers up the triangle-tangle with a slapdash one-night-stand between Sam and Fan Fan (under the influence of liquor after a masquerade party), and a cursory subplot of Fish (Jordan Chan), Lam's best friend, who becomes infatuated with O (Lee), Fan Fan's young assistant, an outward lesbian, and makes every attempt to coax her to have sex with him, nearly downgrade a well-intentioned comedy and a sincere relationship-introspection to a rowdy farce.

By retrospect, for most Chinese circa my generation, we become more susceptible to commemoration and grief while watching these two flicks, with respect to Anita Mui and Leslie Cheung, two gone-too-soon Hong Kong superstars, whom both we lose in 2003, Cheung committed suicide on April Fools' Day, and Mui died of cancer on 30th December, they were good friends in real life too, watching their every gesture and expression on the screen is the best thing we can do to honour their talent and flair. Anita Mui's unisex charm becomes a major drawing power in the sequel and Fan Fan's character is basically based on her own life path.

Leslie and Anita Yuen bond magnificently, both deliver consummate skills of scintillating comedic bent and melodramatic compassion. Carina Lau as Rose, is also worthy of admiration, out of her sultry appeal, she excels in revealing a much mature characterisation of who she really are and what she really want, not just a comic fluff. While Eric Tsang's rotund Auntie, an open gay friend of Sam, playfully nails the role as his relationship counsellor.

Both films take the androgyny and cross-dressing culture from Hollywood outputs (such as TOOTISE 1982 and VICTOR VICTORIA 1982, 6/10) as a pattern to transpose it with Hong Kong's local pop soil, as avant-garde as it seems to be at that time, to advocate the notion of love is love, whether between the same-sex or opposite-sex, but when all is said and done, both choose a safer way to reach its shore, dare not to be too provocative in its narrative, this is what I call the inherent conservatism veiled under Hong Kong's democratic veneer, there is no exception in the movie industry.

Your typical boy meets girl (only masquerading as a guy) story. Although the story is set in a modern-day Cantonese milieu, this story has a number of parallels with Victor Victoria.

A straight man is attracted to someone he believes is a man and is worried about his sexuality. Of course his love interest is a woman so the audience can enjoy a laugh at his expense without being made uncomfortable themselves.

There is an older openly out gay man who is consulted for advice and generally accepted but he is used throughout for comedic affect and seems to be the only gay man in their immediate circle who's `getting any'.

This is another of those films that seems to be using gay themes to titillate the audience and sell tickets without actually showing any truly positive gay images but at least it's not anti-gay. Used to be there was a class of movies called `Blacksploitation' films. I'd suggest that this film and others like it (`In and Out', `Victor/Victoria') will one day be labeled `Gaysploitation' in much the same way.

On a technical level, the film is well done and enjoyable but the DVD copy had some problems. The white subtitles were often unreadable against the white backgrounds and some went by so fast that I found myself constantly pausing and replaying a scene to see what was said. The translation was a bit off as well. There were frequent misspellings and grammar errors and several of the Cantonese songs were not translated at all. What made this particularly annoying was that the subtitles only had one setting (English and Mandarin) so when these un-translated Cantonese songs were going on the Mandarin subtitles continued.

The producer Sam (Leslie Cheung) and the singer Rose (Carina Lau) are a successful and happy couple on the screens and in the news. However, in the real life, they are splitting. Billy (Anta Yuen) is a girl, who dresses like a man, trying to get a spot in the show business. The problem is that both Sam and Rose fall in love with her. This Hong Kong version of `Victor or Victoria' is a funny romantic comedy and a good entertainment. The problem is that in Brazil, the Brazilian distributor Abril Video has decided to release a version dubbed in English, forgetting that the speech is part of the interpretation, destroying a funny movie with a ridiculous dubbing. A shame! Anyway, my vote is seven.

Title (Brazil): `Sou! Mas Quem Não É?' (`I Am! But Who Is Not?')