Winter Love
6.6
Inside a café, on Christmas Eve. Chim Kei meets an enigmatic woman named Mimi Wong who introduces herself as the daughter of an upper-crust family. But the infatuated writer is struck by a spasm of sorrow when he later sees Mimi make her appearance as a taxi-dancer at a party. The lovers are reconciled by the story of her plight told by her sister Annie. However, Mimi goes missing on the engagement day. By a stroke of luck, Chim runs into the elusive woman again and finds out how she was forced into prostitution by her drug-addict husband, his childhood best friend and benefactor Chan Hung-kit. Chim leaves dejectedly, and has since been idling his days away. The frail Mimi confesses her love for Chim on her deathbed, and from not far away, Chan has ended his own life.
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Patrick Tse Yin
Chim Kei
Destaca en
Shaolin Soccer
Rouge
Wong Oi-Ming
Annie Wong
También en
Back Door
Deep in Love
Chor Yuen
Destaca en
Historia Policiaca
Operación Trueno
Man Lai
John Yip
También en
Sex for Sale
Sex, Love and Hate
Josephine Siao
Mimi Wong
Destaca en
La leyenda de Fong Sai Yuk
Sze-Ma Wah-lung
Wong Shui-hung
Destaca en
The Eagle Shooting Heroes
The Blade
Wai-Lin On
Lai Man
Annie's mother
También en
Los Puños de Bruce Lee
The Dragon Missile
Tsui Siu-Ming
Chim Kei in his childhood
Destaca en
Sakra
Patrick Lung Kong
Chan Hung-kit
Destaca en
La máscara negra
Érase una vez en China y América
Lee Wan-Chung
Peter Chan
Destaca en
Bebe conmigo
Chor Yuen Dirección · Ning Tam Guion Yee Tat (John Yip) Historia
Primer estreno 3 de diciembre de 1968 · Título original 冬戀
Producción
Tse Brothers Motion Picture Company
Producción
Idiomas
Título original
冬戀
Idioma original
Cantonés
Hablados en pantalla
Cantonés
Fechas de estreno
RAE de Hong Kong (China) · 3 de diciembre de 1968
Cines · ilm criticism: In my opinion, Chor Yuen is better at evoking feelings than expounding on thoughts or issues, and more competent at handling simple small subjects than complex large themes. Take 'Winter Love' as an example. Although it is just a light romantic interlude, Chor Yuen makes an unconventional variation on a popular, melodramatic theme through clean-cut scene breaks and sophisticated treatment, creating a certain unique flavour that is light years away from the straightforward narrative of his socio-familial melodramatic tragedies. Perhaps the film appears refreshing because both the scriptwriting (including the use of flashback, frequent give-and-take among characters, a preference for stillness over movement) and cinematography (black and white, location shooting) are quite extraordinary by current Chinese film standards. (Law Kar: 'Spring Comes to Chor Yuen', 'Chinese Student Weekly', Vol 867, 28 February 1969)
No hay fecha de estreno registrada en Estados Unidos.
RAE de Hong Kong (China)
9 de abril de 2004 · Cines (limitado) · Hong Kong International Film Festival
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