director Tsui Hark--essentially a force of his own in Hong-Kong cinema--has his own chapter.
I won’t get into the book’s details because you can glean them
when you read
should know a
She was very
the interview transcriptions. little bit about Ms. Tetsuya’s brave and did not shy away from questions about her private life.
For example, Ms. Tetsuya uncovered Brigitte Lin’s honest opinions about Chin Han and Charlie Chin--the former being her long-time lover even though he was married to another woman and the latter being the one who actually proposed marriage to her. (As I mentioned earlier, the two Chins reversed roles in “Cloud
In answering Ms. Tetsuya’s
point of view).
questions, Brigitte Lin set many issues (at least from
Perhaps the most refreshing aspect of reading Ms. Tetsuya’s
prose is absorbing her candor. acknowledges the fact that she
At the beginning, Ms. approached the project
Tetsuya as a fan
disappeared The book is
from the spotlight since she not a scholarly treatise, and
should not be treated as conversational tone that
Rather, the casual,
to her appointments probably put her interviewees at ease. Without turning into a sob piece, we see how difficult it was (and still is) to be a movie star in Hong Kong, appearing in
five or six major productions per year and being hounded
Americans seem to be, tabloid muckrakers in
our media is not as other countries.)
The book is not a lop-sided hagiography.
Brigitte Lin takes
responsibility for personal failings, and she expresses misgivings about having appeared in so many movies (at
without always considering their meri understandable that the book’s partic Brigitte Lin’s good side, the inclusi clearly negative comments about Brigi
Tetsuya’s desire for
an expansive, in Jing churns out
that he is often unable to
direct mor is establi
Also, while it’s
tte Lin indicate Ms. clusive summation of her so many movies each year e than 50% of any given shed mostly in post-
maximum audience-pleasing es explains why he feels eer--meaning, he feels that rospects.