Anita Mui Yim-fong attends the 1988 Gold Records presentation ceremony at Queen Elizabeth Stadium in Hong Kong (Photo: Getty Images)
Cover Anita Mui Yim-fong attends the 1988 Gold Records presentation ceremony at Queen Elizabeth Stadium in Hong Kong (Photo: Getty Images)

From romantic comedies to tragic dramas, this Hong Kong superstar’s filmography, cut short as it was, is full of timeless roles and unforgettable performances

In Hong Kong, there may be no other actress or songstress whose talent, stardom or cultural impact touches what Anita Mui managed to achieve in her career, which burnt so brightly and, sadly, all too brief.

October 10 marked the legendary entertainer’s would-have-been 59th birthday. We take a moment to celebrate Anita Mui, who was not only a captivating performer, but a cultural icon who redefined an age with her unique take on style, beauty and life.

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‘Rouge’ (1987)

This Stanley Kwan film stars Mui and Leslie Cheung, with whom she shared a similar rise to fame and an unbreakable friendship, as lovers in the 1930s. Mui plays Fleur, a courtesan, who falls for Cheung’s Chan Chen-pang, the son of a wealthy family who would never have accepted his romance with a lady of the evening. Fleur and Chen-pang make a pact to die by suicide and be together in death.

Fast forward to 1987, the ghost of Fleur appears to newspaperman Yuen, played by Alex Man, wanting to place an ad for her lover who she fears had been lost and who she’d been looking for in the afterlife for more than 50 years. Drawn by her beauty and the tragedy of her story, Yuen and his girlfriend Chor, played by Emily Chu, digs more into her romance with Chen-pang only to find more heartbreak.

For her work on Rouge, Mui won four best actress awards, including at the 1988 Golden Horse Film Festival and the 1989 Hong Kong Film Awards.

‘Justice, My Foot!’ (1992)

A period screwball comedy directed by Johnnie To, Mui plays Mrs Sung, the wife of ruthless lawyer Sung Sai-kit, played by similarly legendary Stephen Chow. None of the Sungs’ 13 children survived past the age of one, which pushes Sung into retiring from his profession until a lingering sense of unease over his last case draws him out of retirement.

Both dynamic and engaging performers, Chow and Mui are hilarious as the eccentric Sungs, and this genre perfectly showcases Mui’s range as an actress.

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‘Who’s the Woman, Who’s the Man’ (1996)

Mui and Cheung are reunited in this gender-bending romantic comedy directed by Peter Chan.

Cheung plays Sam Koo Ga Ming, a pop music songwriter with whom Lam Chi-wing, played by Anita Yuen, is infatuated. To catch his eye, Chi-wing masquerades as a man and accidentally becomes a massive pop star. To complicate things further, androgynous Canto-pop diva Fong Yim Mui, played by Mui, returns after a long absence and finds herself attracted to Chi-wing… who finds she also reciprocates those feelings. Aiya!

‘Eighteen Springs’ (1997)

In this romantic drama directed by Ann Hui, Mui and Jacklyn Wu play very different sisters: Gu Man-lu, a nightclub hostess, and Gu Man-zhen, a clerical assistant respectively. Both sisters fall in love with men they cannot be with, and while Man-lu marries a wealthy playboy played by Ge You instead, Man-zhen and her amour parts unhappily because his family opposes their relationship. Unable to bear children and desperate to save her marriage, Man-lu arranges for her sister to visit her mansion, where Man-zhen is then kept prisoner and raped by Man-lu’s husband. 

Eighteen Springs is dark, heartbreaking and thought-provoking, and once again showcases Mui’s chops as a dramatic performer.

‘July Rhapsody’ (2002)

In her final film role, Mui and Jacky Cheung play married couple Lam Man-ching and Lam Yiu-kwok in a troubled marriage in this film directed by Ann Hui. Cheung’s character Yiu-kwok is a teacher who, along with his marital problems, is also facing a mid-life crisis and advances from a flirtatious student at school.

In parallel to Yiu-kwok’s dilemma, Man-ching’s former lover, her teacher from when she was a student and the father of her eldest son, returns suddenly with his health completely deteriorated. With Man-ching spending more time with her son’s dying father, Yiu-kwok finds his student’s flirtations harder and harder to resist.

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