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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

for yourself

when you read

However, you

should know a

methodology.

She was very

asking

Brigitte

Lin

direct

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

of

Romance”.)

These

comments

should

not

be

considered

gossip,

though.

In answering Ms. Tetsuya’s

the

record straight

her

point of view).

with

regards

to

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

devoted

to

memorializing

and

shedding

light

upon

a

public

figure

who has

basically

married

in 1994.

disappeared The book is

from the spotlight since she not a scholarly treatise, and

it

should not be treated as conversational tone that

such.

Rather, the casual,

Ms.

Tetsuya

obviously

carried

with

her

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

relentlessly

by

tabloid

paparazzi.

(As

celebrity-obsessed

as

Americans seem to be, tabloid muckrakers in

our media is not as other countries.)

out-of-control

as

the

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

least

100)

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

idol’s

impact.

Wong

an expansive, in Jing churns out

that he is often unable to

project.

His

“auteurship”

direct mor is establi

ts.

Also, while it’s

ipants

would

want

to

be

on

on

of

director

Wong

Jing’s

tte Lin indicate Ms. clusive summation of her so many movies each year e than 50% of any given shed mostly in post-

production,

when

he

edits

footage

for

effect.

Wong’s

attitude

towards

movi

that

Brigitte

Lin

mis-managed

her

car

she

did

not

maximize

her

commercial

p

maximum audience-pleasing es explains why he feels eer--meaning, he feels that rospects.

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