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"We're all just part of the drama..."
Peking Opera Blues is a classic 1980s Hong Kong film by Tsui Hark. Set around 1911, the film starred Brigette Lin, Sally Yeh, and Cherie Chung as three women with vastly different backgrounds who were thrown together by fate. I'm always happy when women take the main roles and aren't continually shown as helpless victims or sex objects. My kung fu movie loving heart was also happy to see Ku Feng and Wu Ma along with a secret document added to the mix.
Itinerant singer Sheung Hung swipes a box of jewels when the local warlord runs afoul of his men. They’ve learned he can’t pay them because he lost everything gambling with another “general.” Bai Niu works for her father who runs a Chinese opera troupe. She desperately wants to act which enrages her father as women are forbidden from performing. Cho Wan is the daughter of General Cho and has returned from abroad wearing men’s clothes and a cropped men’s haircut saying the style grants her more freedom by keeping people guessing. The women end up working with a rebel who is after proof that General Cho and Yuan Shi Kai are working together in a plot for corrupt power and wealth.
I loved Brigitte Lin in her gender bender outfits. She carried the look off with chic elegance. Her character, Cho Wan, was a boss. Lin expertly showed Cho’s toughness, vulnerability, and also her conflict over betraying her father. Sally Yeh’s Bai Niu had less to do as the frustrated actress wannabe though her turn at Peking Opera was entertaining. Cherie Chung’s Cheung Hung was the weak link for me. I’m going to blame the writers as I enjoyed her performance in 1987’s An Autumn’s Tale. I’m just not a fan of bumbling, selfish, comedic characters. Mark Cheng as the rebel Ling Pak Hoi was handsome and capable in the fight scenes. Speaking of the fights, the martial arts and gun fights were well choreographed but often pushed the bounds of belief. Lastly, Ku Feng flexed his bad guy muscles as Commander Liu.
Behind the action comedy, Cho Wan and Bai Niu pushed gender roles for the early 20th century. It was gratifying to watch a film with three women going after what they wanted and weren't reduced to victims. Tsui Hark wasn’t afraid to tweak historical figures and events with some political satire. There was also the subtle emotional tug that Cho was the idealist and devoted to making China a better place through her actions and sacrifice though whether they amounted to anything remained to be seen.
This is one of those films that wildly mashed story tropes together to see what stuck to the wall--friendship, torture, comedy, action, politics, espionage, Chinese opera, familial love, betrayal, defying boundaries, and even hints of romance. Some of it worked for me, some of it didn’t (Sheung’s “comedic” scenes). I’m not a huge fan of Hong Kong comedy yet I will say one scene had me laughing so hard I almost cried and is the reason I bumped my score up a half point. If you like 1980s Hong Kong films or are a fan of Tsui Hark, this is a film worth giving a try, keeping in mind that the production looks dated. Prior to 1990 so I graded it on a curve.
21 November 2025
Trigger warning: a rather intense torture scene
7.75 could be a 7.5 or an 8.0 in my rating system. I've changed it twice now. lol
Itinerant singer Sheung Hung swipes a box of jewels when the local warlord runs afoul of his men. They’ve learned he can’t pay them because he lost everything gambling with another “general.” Bai Niu works for her father who runs a Chinese opera troupe. She desperately wants to act which enrages her father as women are forbidden from performing. Cho Wan is the daughter of General Cho and has returned from abroad wearing men’s clothes and a cropped men’s haircut saying the style grants her more freedom by keeping people guessing. The women end up working with a rebel who is after proof that General Cho and Yuan Shi Kai are working together in a plot for corrupt power and wealth.
I loved Brigitte Lin in her gender bender outfits. She carried the look off with chic elegance. Her character, Cho Wan, was a boss. Lin expertly showed Cho’s toughness, vulnerability, and also her conflict over betraying her father. Sally Yeh’s Bai Niu had less to do as the frustrated actress wannabe though her turn at Peking Opera was entertaining. Cherie Chung’s Cheung Hung was the weak link for me. I’m going to blame the writers as I enjoyed her performance in 1987’s An Autumn’s Tale. I’m just not a fan of bumbling, selfish, comedic characters. Mark Cheng as the rebel Ling Pak Hoi was handsome and capable in the fight scenes. Speaking of the fights, the martial arts and gun fights were well choreographed but often pushed the bounds of belief. Lastly, Ku Feng flexed his bad guy muscles as Commander Liu.
Behind the action comedy, Cho Wan and Bai Niu pushed gender roles for the early 20th century. It was gratifying to watch a film with three women going after what they wanted and weren't reduced to victims. Tsui Hark wasn’t afraid to tweak historical figures and events with some political satire. There was also the subtle emotional tug that Cho was the idealist and devoted to making China a better place through her actions and sacrifice though whether they amounted to anything remained to be seen.
This is one of those films that wildly mashed story tropes together to see what stuck to the wall--friendship, torture, comedy, action, politics, espionage, Chinese opera, familial love, betrayal, defying boundaries, and even hints of romance. Some of it worked for me, some of it didn’t (Sheung’s “comedic” scenes). I’m not a huge fan of Hong Kong comedy yet I will say one scene had me laughing so hard I almost cried and is the reason I bumped my score up a half point. If you like 1980s Hong Kong films or are a fan of Tsui Hark, this is a film worth giving a try, keeping in mind that the production looks dated. Prior to 1990 so I graded it on a curve.
21 November 2025
Trigger warning: a rather intense torture scene
7.75 could be a 7.5 or an 8.0 in my rating system. I've changed it twice now. lol
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