Film 1965
春殘花未落
Yönetmen: 楚原Yayınlar
Tarihe göreSinema
07 Eki 1965
Hong Kong
Film criticism: 'Love Never Fades' tells the story of a lowborn woman who marries a rich husband…forced to leave her husband and daughter, she lives her life with a clear conscience knowing that she has paid her dues to herself and others. She takes away with her happiness from a family that is bound by moral constraints and a phony reputation. The film speaks of personal responsibilities and delves deeper into the distinction between 'intrinsic responsibilities' and 'superficial responsibilities'—a testimony of a transition in his directorial style, from outward to inward, which was the key to the rich flavour and finesse of 'Love Never Fades'. (Sek Kei: 'College Life Monthly', October 1966) The standard of 'Love Never Fades' is on par with 'The Great Devotion', 'Rose in Tears' and 'Ungratefulness', only more mature and mellow. During several scene transitions, the motion of the characters is put to a tranquil halt, slowly fading out with the dimming of the light. The moderately paced tempo and the daintily crafted scenes evoke a faintly melancholic aura. (Shu Ming, Gu Er aka Koo Siu-sun: 'Love Never Fades: On Chor Yuen's Major Works', 'Chinese Student Weekly', No 745, 28 October 1966).
Hong Kong
Film criticism: 'Love Never Fades' tells the story of a lowborn woman who marries a rich husband…forced to leave her husband and daughter, she lives her life with a clear conscience knowing that she has paid her dues to herself and others. She takes away with her happiness from a family that is bound by moral constraints and a phony reputation. The film speaks of personal responsibilities and delves deeper into the distinction between 'intrinsic responsibilities' and 'superficial responsibilities'—a testimony of a transition in his directorial style, from outward to inward, which was the key to the rich flavour and finesse of 'Love Never Fades'. (Sek Kei: 'College Life Monthly', October 1966) The standard of 'Love Never Fades' is on par with 'The Great Devotion', 'Rose in Tears' and 'Ungratefulness', only more mature and mellow. During several scene transitions, the motion of the characters is put to a tranquil halt, slowly fading out with the dimming of the light. The moderately paced tempo and the daintily crafted scenes evoke a faintly melancholic aura. (Shu Ming, Gu Er aka Koo Siu-sun: 'Love Never Fades: On Chor Yuen's Major Works', 'Chinese Student Weekly', No 745, 28 October 1966).
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