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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Cast
22 people
Patrick Tse Yin
Chim Kei
Known for
Shaolin Soccer
Rouge
Wong Oi-Ming
Annie Wong
Also in
Back Door
Deep in Love
Chor Yuen
Known for
Police Story
Thunderbolt
Man Lai
John Yip
Also in
Sex for Sale
Sex, Love and Hate
Josephine Siao
Mimi Wong
Known for
The Legend
Sze-Ma Wah-lung
Wong Shui-hung
Known for
The Eagle Shooting Heroes
The Blade
Wai-Lin On
Lai Man
Annie's mother
Also in
Fist of Unicorn
The Dragon Missile
Tsui Siu-Ming
Chim Kei in his childhood
Known for
Sakra
Patrick Lung Kong
Chan Hung-kit
Known for
Black Mask
Once Upon a Time in China and America
Lee Wan-Chung
Peter Chan
Known for
Come Drink with Me
Chor Yuen Director · Ning Tam Screenplay Yee Tat (John Yip) Story
First release December 3, 1968 · Original title 冬戀
Production
Tse Brothers Motion Picture Company
Production
Languages
Original title
冬戀
Original language
Cantonese
Spoken on screen
Cantonese
Release dates
Hong Kong SAR China · December 3, 1968
Theatrical · 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 release date listed for United States.
Hong Kong SAR China
April 9, 2004 · Limited theatrical · Hong Kong International Film Festival
Some details come from TheTVDB.