Yam kim fai biography of william

Butterfly and Red Pear Chiu Yu-Chau. Miserable Daughter-in-Law Cuckoo's Soul in March On the Road to Success Part 1 On the Road to Success Part 2 Fete of the White Hare The Moonlight and Pi-pa of the Borderland Five Children at One Birth Wife-Teasing at the Honeymoon Xi Shi, the Eternal Beauty The Stubborn Generations Ko Kim-Kwong.

Escape from Banishment Last Minute Pak Ching-Wah. Madam Yun Shum Sam-Pak. Rescue at the West River The Unknown Benefactress Good Humanity Romantic Music Part 1 Tong Yu-Lam. A Chaste Widow's Grievance A Wonderful Petition Part 1 Romantic Music Part 2 Monarchical Restoration The Widow with Grievance Wong Mong-Ha. The Eagle Knight and the Crimson Girl Eagle Knight Ka Fook.

Avenged Chui Chow-Ngan. A Song to Remember Part 1 A Song to Remember Part 2 Tong Pak-Yuen. Dai Heung Lei Cheut Sing The Colourful Water-chestnut An Aristocratic Affair Miu Tribe Mang Sung-kim. Misunderstanding Disturbance The Palace of the August Moon Pagoda of Golden Snake The Temple of the Golden Orchid Part 1 The Temple of the Golden Orchid Part 2 Witness for the Prosecution Revenge and Gratitude Pair of Jade Butterfly The General and the Tyrant Story of a Sedan-bearer Dik Ching the Hero Most of his classic scripts were adapted into films, which played an important role in preserving the art of Cantonese opera in Hong Kong.

Yam Kim Fai started learning Cantonese opera at the age of 14 and took on male roles since then. Later she became an apprentice of Wong Nui Hap, the "female counterpart of Ma Sze Tsang", and learnt the traditional plots, structure and form. It was soon after this that Yam performed in an opera written by Tong Tik-sang, "White Poplar, Red Tears", an event that marked their first ever co-operation, which was followed by the subsequent co-operations with Fong Yim Fun to perform many of Tong's famous play.

InYam and Pak established the Sin Fung Ming Opera Troupe, where Yam drew on her skills to play the roles of witty sentimentalists and scholars as portrayed in the scripts of Tong. Now in the yam kim fai biography of william of her career, she attracted a large number of fans, who flocked to witness her wide repertoire and outstanding talent.

Yam attained a very high level of artistry in Cantonese opera and excelled at vivid portrayals of the classic roles of destitute scholar, witty sentimentalist, naive civilian and military general. Her performances were characterised by her clear and melodious vocal style, clear pronunciation, a bright and piercing gaze, rich and layered emotions as well as her natural and artistic beauty.

Sooner rather than later according to Yam, she kept in touch with Loong by long-distance phone calls only during overseas tours, even during those four months in Her trip was promised to be all paid for should she take it. She visited sometimes in Canada per Loong but never planted herself front and center to get the Press's attention.

She shared same or another one with lads in recent years. Their digestive systems were not ready yet, according to themselves on radio that she learnt from Yam and applied in all her performances while in s Loong was already far beyond the abc according to the Press. Yam's approach to acquired taste could have been to advise someone to "try cabbage compresses" instead of what happened to the wet nurse of Puyi in the film The Last Emperor.

Leslie Cheung was rumored to have learnt singing from Loong in s for his concert performance. There are however more open and extreme cases in that nature. They kindly blamed her busy social schedule for her being the same old rug. Lam Kar Sing didn't know what himself was really up against for close to two decades until after spending months to teach her.

One son shared with first cousins once removed the "right" lesson to take away. There is actually plenty of evidence to prove in due course the grandma's successful career, lifetime effort and endurance. No harm, no foul but not vice versa. In reverse, fraudulent "role model" misrepresentations along with all evidence of the what's not to do wiped out are just to young minds "poison ivy", something only monsters feed infants and toddlers so as "to increase their growths".

Poison ivy always has clusters of three leaves. The motive to wipe out in was in plain sight but in vain. Live on air, one academic started reining in the clueless radio host Mr. Chan and guest now deceased "walking encyclopedia" in Cantonese opera who kept admiring how great box office record for decades Loong achieved on stage, especially the winter event and IFPI wins, a finalist up for a vote.

The occasion merely marked the beginning of concerted campaign out in open to promote misaligned personal agenda.

Yam kim fai biography of william: Sam-Yi Kim - to

The academic launched her current career by books published in the past specifically related to Loong's return to stage. People only see what they are prepared to see. How to learn if never see the good in other people. One privileged student of a master from her vintage point backstage observed nothing more than a female lead as born without a good voice or good look and concluded that "She only hided it well.

Nice thread. One veteran audience was convinced by her acrobatic skill on stage as Lin Daiyu. The lad is by design free to hire any co-star, a benefit Lam unlike Loong enjoyed in his career throughout. Some individuals can learn in less orthodox settings and run with what they can take away. On the contrary, wrong lessons could also be found in photographs.

The ne'er-do-well was peeled off the costume cladded Loong, when group photos were taken that day in That's her day off just like several other occasions during the filming when photos were taken. Following the tag-along playbook of some "never good in her own right", said person in s actually already used Loong's thigh as armrest when Loong was wearing shorts, much to Loong's dismay.

That is, Ho had no successor with him although Hung brought along one student in Sit Gok Sin picked a young lad and groomed Lam Kar Sing who also picked a young lad very late in life. Sit and Lam both had veteran performers hanging around for decades to borrow their fame throughout their life.

Yam kim fai biography of william: Yam Kim-fai moved to Hong

Rather than beating a dead horse, Sit and Lam each only spent their last six years to make sure their AAA continue to shine on stage. It has been beyond connections and history, family or otherwise. As patriarch, the breadwinner, the successful transfer of their AAA goes hand in hand with their status for history books. Masters brand the successors' troupes in their own images to reflect their approvals.

None of them wanted their names soiled in the hands of unfit but well-connected veteran performers. It is just fantasy until the path from A to B is clear. That approach doesn't fit the s description by Lam who didn't mind directors using his coat tail to make a name in Cantonese opera. Yuen was more frank on camera in that directors were obstacles to him.

To be his own domain about AAA, he picked stage over film as a teenager. Desired to tell any veteran virtuoso opera performer how and what to do is just hubris for some have never seen, let alone been in those shoes of such performers. Easy-Bake Oven in baking may have an equivalent in Cantonese opera. Yam shared with only Loong how to use the mouth and surrounding cavities as an instrument while others learnt to sing like Yam directly or indirectly.

According to herself, Yam was a home body who needed only 3-meals a day, sleep and mahjong solitaire to make her day since retirement. Actually, she was alone often photographed guiding Loong and others or talked to her buddy Leung Sing Bor during rehearsals in s or others in the troupe since his death. Loong and crew, so used to Yam looking over their shoulders, were not natural in speaking up on film set in Back inLoong requested musicians to pick up their pace but in vain.

Returning after 12 years, Loong was caught off guard by the prevailing melodramatic style. All that happened in front of the Press in One man became her godfather and vocal style tutor while the other man helped manage her finance and held the purse strings at times, looking after the war chest Yam built up in Macau. Dream of Red Chamber in Macau was one of many highlights in her career since being the last all-female troupe standing.

The trend of huge production cost never recoverable from no matter how good box-office record as a result also caused Yam headache. Yam was known since very young as the single financial source of immediate family, extended families, big spender co-star and associated families. Yam had a reputation of being very generous, footing the bills when her troupe was in trouble.

Chan Lap Ban told in on camera the old days when they performed in villages both age 20 or so. Investors failed to pay for their performance. Yam as the patriarch actually provided for the troupe to be all home safe, with her personal gold collection. Since leaving Macau, there was no more Macau financing but the spending spree continued. That's the back to grass-root, getting off the high horse, episode before New Voice Opera Troupe ceased to exist.

Spending spree so resulted made it necessary for Yam to rely heavily on film roles for income and a real estate portfolio properly managed by reliable personnel. However, that ended after The Purple Hairpin. Cinematographic plans to bring titles to cinemas before these two were cancelled [ Note 10 ] as a result of very bad receptions. This is the second ruin that lasted six long years.

The third major financial disaster was rescued with her extremely exhausting North America tour, more than a decade since she was deprived of the chance to say goodbye to her dying mother, the most treasured family member. Yam paid for the four-year long production of a film in Cantonese. The cost is said to be somewhere between that of two films directed by Li Han-hsiang.

However, this film has never reached anywhere beyond Hong Kong and was screened in cinemas only a few times for the five decades since released. Loong's stage production in provided a path that the storyline was introduced to Las Vegas and beyond. This stage version is also regularly put on stage by later generations of Cantonese opera performers.

Many of her performances were made into films, such as the remake of Sweet Girl. Many titles were adapted for the screen, a few iconic ones are listed below. Yam is in Qing Dynasty attire including paomao a stiff cap and magua a buttoned mandarin jacket 'for the rich' for the yam kim fai biography of william two below, both set in late s and early s.

Many moviesand My wife married my brother were made from this stage production. These actresses above are successful performers in their own right. They shared the stage with as well as had film roles opposite many male leads throughout their career. Tang Pik Wan actually took on male lead roles as well while Chan Yim Nung did that in late s as well as much later in life in United States for leisure.

In movies from toYam played the male lead opposite just about every female lead, young like daughter of Leung Sing Bor included. However, her first film was " A Mysterious Night " in after observing film-making as a friend of Luo Pinchao and others. Good proportion of the movies she made are contemporary, neither in Cantonese opera costumes nor set in early s when women still had bound feet.

The above actresses are all very versatile and successful on stage as well as in films and TV late in life. Yam was the " speak softly and carry a big stick " member of Cantonese opera community but without cult of personality character. Entourage hospital, airport, etc. For example, construction, medical and legal professionals at a certain pay grade were not allowed to advertise out-right in the past.

Getting in the limelight with celebrities was an alternative or even better deal. The resulted stream of "an upscale clientele" was worth the time and expenses. However, the residue value of her " down-ballot effect " is minimal [ 13 ] for her co-stars. The last two, Lam and Loong, who played second fiddle to her on stage as second leading "men" continue to be super idols for decades.

They reprised many of those roles when the operas were adapted for the screen between and The latter is available only in vocal record. The last overseas tour was in North America. Yam introduced her six backup singers, [ 2 ] [ 14 ] [ 15 ] her 'next' generation, to the wider audience with a song from Yam never performed in public again since then.

Yam valued Loong as someone with a good head on shoulders and worth all resources needed to groom as successor to her AAA in Cantonese opera right after observing the September performances. In addition, Yam called Loong clever, subservient to her and persevering. A successor to Yam means, a frugal life off-stage and if necessary an only financially responsible adult in the room, in addition to The short film shows the level of maturity Yam has achieved after years of struggle.

With highly accomplished and superb opera acting skills, she knows how to improvise if it should become necessary. Such a stage demeanor can only be projected by a veteran virtuoso opera performer. Old hands eating their young in the community is the die hard old habit like mothers-in-law punishing their sons' wives in Chinese culture.

Senior members see their turn to be nasty and rip-off the young, thumbing their noses at the rank and file. With this danger in mind or not, Yam kept her time with Loong between the two of them.

Yam kim fai biography of william: After getting married in HK in

Yam and Loong together had more than leveled the playing field for generations of actresses who have joined the Cantonese opera community since s. Birds must fly far and high to start their own families. Adult birds feed the young with their vomit only till they can fly on their own. It can take weeks or months. Patriarchs in Cantonese opera, the show-runners, must stand on their own two feet sooner or later.

Sooner rather than later according to Yam, she kept in touch with Loong by long-distance phone calls only during overseas tours, even during those four months in Her trip was promised to be all paid for should she take it. She visited sometimes in Canada per Loong but never planted herself front and center to get the Press's attention. She shared same or another one with lads in recent years.

Their digestive systems were not ready yet, according to themselves on radio that she learnt from Yam and applied in all her performances while in s Loong was already far beyond the abc according to the Press. Yam's approach to acquired taste could have been to advise someone to "try cabbage compresses" instead of what happened to the wet nurse of Puyi in the film The Last Emperor.

Yam kim fai biography of william: The Kam family has been

Leslie Cheung was rumored to have learnt singing from Loong in s for his concert performance. They kindly blamed her busy social schedule for her being the same old rug. Lam Kar Sing didn't know what himself was really up against for close to two decades until after spending months to teach her. One son shared with first cousins once removed the "right" lesson to take away.

Their maternal grandma was busy studying manuscript for performance.