Kuei Chih-Hung (ๆกๆฒปๆดช) (20 December 1937 โ 1 October 1999) was one of the most popular and daring filmmakers to work for the Hong Kong-based Shaw Brothers Studios, directing more than 40 films throughout the late 1960s, 1970s and early 1980s. Known for his bold cinematic style, innovative use of realistic, on-location shooting and often gritty, controversial subject matter, Kuei found critical and commercial success working in a variety of genres, including the hard-boiled crime drama of The Te...
Kuei Chih-Hung (ๆกๆฒปๆดช) (20 December 1937 โ 1 October 1999) was one of the most popular and daring filmmakers to work for the Hong Kong-based Shaw Brothers Studios, directing more than 40 films throughout the late 1960s, 1970s and early 1980s. Known for his bold cinematic style, innovative use of realistic, on-location shooting and often gritty, controversial subject matter, Kuei found critical and commercial success working in a variety of genres, including the hard-boiled crime drama of The Teahouse (1974) and its sequel, Big Brother Cheng (1975), wuxia classic Killer Constable (1981), and the cult horror favorites The Killer Snakes (1975) and Hex (1980). Kuei often added subtle commentary to even his most mainstream projects, depicting the poverty of the public housing, police corruption and colonial government rule with an unflinching honesty.
Kuei Chih-Hung (ๆกๆฒปๆดช) (20 December 1937 โ 1 October 1999) was one of the most popular and daring filmmakers to work for the Hong Kong-based Shaw Brothers Studios, directing more than 40 films throughout the late 1960s, 1970s and early 1980s. Known for his bold cinematic style, innovative use of realistic, on-location shooting and often gritty, controversial subject matter, Kuei found critical and commercial success working in a variety of genres, including the hard-boiled crime drama of The Teahouse (1974) and its sequel, Big Brother Cheng (1975), wuxia classic Killer Constable (1981), and the cult horror favorites The Killer Snakes (1975) and Hex (1980). Kuei often added subtle commentary to even his most mainstream projects, depicting the poverty of the public housing, police corruption and colonial government rule with an unflinching honesty.
