What is the history of Hong Kong and China COMEDY?QUICK
What is the history of Hong Kong and China comedy?
Please answer this question in Eng~
Please be QUICK, I've no time.
I need them for my project, so please answer them longer, or if you like, you may write it in some paraph.
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- Anonymous1 decade agoFavorite Answer
The tradition of the Cantonese comedy is an evergreen one. Apart from relatively meticulously crafted comedies such as Ah Chiu Is Getting Married/Achao Jiehun (1958), Money/Qian(1959), Feast of a Rich Family/Haomen Yeyan (1959), and The Chair/Jinshan Dashao (1959), the vast majority of Cantonese comedies are populist farces and slapstick with somewhat slipshod production standards. However, because of their populism, these films are closer to the pulse of the masses, forming a strong contrast to the more sophisticated, middle-class Mandarin comedies. Some examples of Cantonese farces attuned to the lower depths are the 'Broker Lai series' released in 1950, A Comet of Laughter Lands on Earth/Xiaoxing Jiang Diqiu (1952), Crossroads/Shizi Jietou (1955), My Kingdom for a Husband/Xuangong Yanshi (1957), Two Fools in Paradise/Liangsha You Tiantang (1958), and the 'Mr Wong series' (1959). The Cantonese comedies rely heavily on a host of brilliant comedians: Leung Sing-po/Liang Xingbo, Sun Ma Si-tsang/Xin Ma Shizeng, Yee Chau-shui/Yin Qiushui, Tang Kei-chen/Deng Jichen, Tam Lan-hing/Tan Lanqing, Tang Bik-wan/Deng Biyun, etc. Interestingly, many of these actors came from a Cantonese opera background but are now remembered as the mainstays of Cantonese screen comedy. This betrays the close relationship between opera and cinema, a unique association that is found only in Cantonese cinema. The division between opera and screen stars alluded to earlier on was not at all lasting. In 1953, Ma Si-tsang and Hung Sin Nui, both opera stars, joined the ranks of The Union. In 1956, when the Cantonese cinema world joined forces to make Backyard Adventures of which the proceeds went to the late Yee Chau-shui's family, The Union invited opera stars to participate.
The Cantonese musical and opera genre was one of the most popular and important film genres in the 1950s and 1960s. On a rough estimate, more than 500 opera films were produced in the 1950s, equivalent to one third of the total output. The musical genre emerged in the early 1950s, comprising both modern-dress and period-costume films. Many were musical comedies, such as A Bachelor's Love Affair/Guanggun Yinyuan (1953), starring Leung Sing-po and Leung Mo-sheung/Liang Wuxiang, and A Ton of Gold/Huangjin Wanliang (1954), starring Sun Ma Si-tsang and Tam Lan-hing. There were also adaptations of folk legends and muyu (or wooden clapper) books. Films directly adapted from Cantonese operas were relatively rare in this period, and it was not until the mid-1950s that the genre of Cantonese opera films approximating the theatrical opera style started to become popular. Examples are Love in a Dangerous City/Weicheng Jiandie (1955), starring Chan Fei-nung/Chen Feinong and Mak Bing-wing/Mai Bingrong; and Kwan-ti, God of War/Guan Gong Yuexia Shi Diao Chan (1956), starring Kwan Tak-hing and Tang Bik-wan. The opera film genre really took off in the late 1950s, with some of the most distinguished opera stars featured in timeless Cantonese opera films: Fong Yim-fun/Fang Yanfen in Snow in June/Liuyue Xue (1959) and The Story of Wong Bo-chuen/Wang Baochuan (1959), Yam Kim-fai/Ren Jianhui and Pak Suet-sin/Bai Xuexian in The Legend of Purple Hairpin/Zichai Ji (1959) and Princess Cheung Ping/Dinü Hua (1959), Yu Lai-zhen/Yu Lizhen in The Story of Muk Kwai-ying/Shandong Zajiao Mu Guiying (in two parts, 1959)