The role of comic books on his work , the influence of king hu and peking opera , the early years of film workshop and his films of the mid and late 90s are some of the areas we believe warrant coverage but are unable to because of , again , the proverbial lack of time and resources 但徐克电影生涯中，本书亦有还没触及的内容，如漫画在徐克作品的重要性胡金铨与京剧对他的影响电影工作室早期情况，以及徐克在九十年代中后期的作品。
The catalogue consists of analytical articles discussing the career and works of king hu , filmmaker par excellent of martial arts pictures . there are also many interviews of hu s co - workers and colleagues . other articles include specialised discussions on the screen achievements of writer eileen chang 对武侠宗师胡金铨的作品分析、总论，并访问大量曾与他合作的电影人、文化人，胡氏作品与为人。另有篇幅专论张爱玲与电影的缘份，对电影文学的贡献。
This chronicle of a middle - age couples experience adopting a young girl in the neighborhood makes no attempt to rattle its audience with sensational issues or situations . no harsh portraits of social injustice or malicious class exploitation here , just simple city life and genuine human emotions . li han - hsiang s storytelling gift is on full display , as he stays out of the drama with understated but effective direction 李翰祥选用大量实景配上精致的厂景，把中产阶层的生活和人情世故描绘得极有质感，王引胡蝶王爱明好戏连场，乐蒂杜娟金铨王冲等一众影星亦令人眼前一亮。
The art of beijing opera was deeply ingrained in their aesthetics and became the foundation of king hu s cinematic style . as for li , his creative inspiration was culled from both the grandeur and decadence of the imperial court , and the vibrancy and vulgarity of the common folk who ply their trade near the bustling tianqiao area 他们俩都来自北方，深受京城文化的薰陶，潜移默化，京剧艺术于是成为了日后胡金铨电影风格的基础，而帝都宫廓的华丽与颓萎天桥庶民的生趣与鄙俗，又为李翰祥的作品提供了丰盈充沛的创作养份。
If we see it from our perspective in the 21st century , this story may not seem very intricate or appealing , as most of us have already seen too many wuxia movies with a similar plot device before , but try to imagine , this movie was the first of their kind in the 1960s when nobody has handled a wuxia story in this way before , so what hu did was just like the reinvention of the kung fu genre by bruce lee in the 1970s 以今时今日廿一世纪的眼光来看，这样的故事看似比比皆是，没什么大不了，但这是因为我们已经看过太多武侠片。如果你从另外一个角度来看，当年胡金铨在粤语片盛行时代破旧立新，大拍自成一派的江胡武侠奇情故事，实在有如后来李小重整功夫片种一样，震撼程度可想而知。
Films erotica and cautionary tales about cheating . unlike king hu , who single - mindedly devoted his lifetime to perfecting his art , completing only a dozen or so films with a unified style and vision , li han - hsiang is too difficult to pin down or categorise . law kar , critic and former programmer for the hkfa , mentioned in a recent conversation that the appraisal of li han - hsiang was radically different in various eras and countries 所以如此，一个重要的原因可能是李翰祥的电影类型太杂，从素朴沉实的文艺言情，到千娇百媚的古装宫闱，从严谨考究的历史故事，到随手拈来的风月骗术，常令论者晕头转向，无所适从，难以为他定位，不若胡金铨心无二志地钻研他的技艺，一生只拍了十来部影片，风格纯净统一，研究起来，线索分明，比较容易掌握。
