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“Chinatown, San Francisco California, 1895.” Photograph by Wilhelm Hester (from the University of Washington Libraries, Special Collections). This photo shows a view north up Washington Place, a.k.a. Washington Alley (“Fish Alley” to English speakers) or “Tuck Wo Gaai” (德和街) to old Chinatown’s residents.

Washington Place: Chinatown’s “Fish Alley” 德和街

The street on which one of my grandmothers was born in 1898 had already begun to acquire a rich photographic legacy as an iconic alleyway whose south-north axis connected Washington to Jackson Streets in San Francisco’s old Chinatown. Prior to the Great Earthquake and Fire of 1906, the city had designated the short street as “Washington Place.”

The photographers of old Chinatown often called the street (which would later be re-named Wentworth Place after the quake), as Washington Alley and “Fish Alley.” Chinatown residents referred to the alleyway as “Tuck Wo Gaai” (德和街; lit.: “Virtuous Harmony St.; canto: “Duck Wo gaai”), the name of a well-known business which was located at least as early as 1875 on the southwest corner of the “T” intersection of Washington Place with Jackson Street.

Fish Alley must be considered one of old Chinatown’s most famous streets, the images of which were captured by various photographers and artists during the 19th century. While far from complete, this article attempts to identify the businesses at each identifiable address from photos that are available online. The businesses operating on Washington Place during the latter decades of the 19th century established the small street as one of the iconic alleyways of the pre-1906 community. The photos are grouped roughly in the order they would have appeared to a pedestrian walking north on Fish Alley from Washington to Jackson streets.

“In the Heart of Chinatown, San Francisco, California” c. 1892. Photographer unknown, stereograph published by J.F. Jarvis (from the Robert N. Dennis collection, New York Public Library).

“In the Heart of Chinatown, San Francisco, U.S.A.” c. 1892. This enlarged photo from the original stereograph looks north up Washington Place or Alley, a.k.a. “Fish Alley,” from Washington to Jackson Street.

At least one motion picture of life on the street has survived to this day, a “Mutoscope” from April 1903. (See, e.g., https://www.youtube.com/watch?v=53DTuc6-1hI&ab_channel=LibraryofCongress)

A portion of the hand-drawn map by immigration officer John Lynch from 1894. Washington Street at the southern end of Washington Place appears at the top of the image.

The attempts by local historians to identify various places on Fish Alley has also been helped by the preservation of a hand-drawn immigration officer map from 1894 (the “1894 Map”), as well as numerous business directories showing the names and addresses of the businesses operating on this street prior to the destruction of the neighborhood in 1906.

“Chinatown, San Francisco, Cal.” C. 1890. Photographer unknown (from the Marilyn Blaisdell Collection). This photo was taken from Washington Street looking north up Washington Place (a.k.a. Fish Alley) toward Jackson Street.

“Street in Chinese Quarter – San Francisco” c. 1870s. Photograph possibly taken by the studio of Thomas Houseworth & Co. Image courtesy of Wolfgang Sell of the National Stereoscopic Association. This stereocard shows Emperor Norton (at right) on Chinatown’s “Fish Alley” a.k.a. Washington Place (looking north toward Jackson Street).

By the 1870’s, Fish Alley or Washington Place had already acquired its status as a destination to view in old Chinatown. No less than a local celebrity such as Emperor Norton would pose for a photo on an ever-busy fish and poultry venue.

Untitled photo of Washington Place (a.k.a. Fish Alley), no date. Photo produced by the studio of Isaiah West Taber (from the collection of the California Historical Society). The Tuck Hing meat market appears at the left on the northwest corner of the T-intersection of Fish Alley and Washington Street. The identity of the photographer holding his camera and tripod at the left-center of the image is unknown.

“B 2689 Provision Market in Alley in Chinatown, San Francisco” c. 1891. Photograph probably by Carleton Watkins but printed as a [I.W.] Taber Photo (from the Marilyn Blaisdell collection). This photo shows a view north up Washington Place (a.k.a. Washington Alley or “Fish Alley” to English speakers) or “Tuck Wo Gaai” (德和街) taken sometime between 1880-1891. In a travel book in which the photo “The Provision Market [etc.]” appeared, the writer observed that the market “supplies a better class of food to customers than the markets in China itself. In China the shops sell, rats, mice, dogs, cats and snails; poultry is sold by the piece – so much for a leg, so much for a wing. In San Francisco food is more easily obtainable and money is not so scarce, so that the Chinaman lives better than in his own country… .”

“Chinatown at Night” published by Britton & Rey (from the collection of Wong Yuen-Ming). The postcard image was derived from the Taber Photo “B 2689 Provision Market in Alley in Chinatown, San Francisco” c. 1891.

The above photo and derivative postcard in this series was sold by Isaiah West Taber under the title “Provisions Market in Alley in Chinatown, San Francisco,” but the image was probably captured by Carleton Watkins and acquired by Taber in the aftermath of Watkins’ bankruptcy. The identity of the store shown at the left in the photo is well-known as the Tuck Hing meat market. The market appeared frequently in Chinatown directories from that era and the living memories of Chinatown’s oldest residents.

Listing for the Tuck Hing meat market at 746 Washington St. from the Horn Hong & Co. Chinatown Business Directory and lunar Calendar for 1892.

According to the directories and 1894 Map, the corner market was operated under the name “Tuck Hing Butchers” in a brick building at 746 Washington Street and its alley address at no. 2 Washington Place (in the Langley directory of 1895). The Tuck Hing meat market operated for about a century from 1888 to 1988 at the same northwest corner of the intersection of Washington Street with Washington Place (later named Wentworth).

Across the street from Tuck Hing, on the northeast corner of the intersection of Washington Place and Washington Street, a visitor to Fish Alley around the turn of the century would see another corner store, the Sun Lun Sang Co. at 1 Washington Place.

Fish Alley, no date. Photograph by Turrill & Miller from the Marilyn Blaisdell collection). The Sung Lun (or Lung) Sang, a.k.a. Sun Lung Sing (新聯生; canto: “Sun Luen Saang”) general merchandise store appears at right.

Listing for the Sun Lung Sang market at no. 1 Washington St. from the Horn Hong & Co. Chinatown Business Directory and Lunar Calendar for 1892.

“One Washington Place,” c. 1892-1896. Photograph by Arnold Genthe (from the collection of the Library of Congress Prints and Photographs Division). The store signage for Sun Lun Sang company (新聯生; canto: “sun luen saang”) appears along the left of the frame. The trees of Portsmouth Square and the tower portion of the Hall of Justice are visible through the open, south-facing window along Washington Street frontage.

Historian Jack Tchen identified the store at the northeast corner of Fish Alley and Washington Street as the Sun Lun Sang Co. (新聯生; canto: “Sun Luen Saang” ) “Caged chickens are clearly visible on the right,” Tchen writes. “The photograph was probably taken during New Year’s, because the children are dressed in fancy clothing. The simply dressed woman looking on is probably a house servant to a wealthy merchant family.”

“One Washington Place” c. 1897. Photograph by Arnold Genthe (from the collection of the Library of Congress Prints and Photographs Division). “In this view, taken sometime after 1897,” Jack Tchen writes, “the store sign reads ‘Yow Sing & Co., No. 2.’The man in the basement stairwell is holding a Chinese scale (cheng). The wooden panels on the left are used to board up the storefront after business hours.”

“Chinatown – fish market, circa 1900.” Photograph by D. H. Wulzen (from the D.H. Wulzen Glass Plate Negative Collection (Sfp 40), San Francisco History Center, San Francisco Public Library). A fishmonger talks to a young shopper while cleaning a fish at his sidewalk cutting board probably at no. 5 or 6/12 Washington Place, a.k.a. Fish Alley.

“Fish Market, two men,” c. 1900. Photograph by D. H. Wulzen (from the D.H. Wulzen Glass Plate Negative Collection (Sfp 40), San Francisco History Center, San Francisco Public Library). The same fishmonger talks to a male shopper in front of the store at 5 Washington Place. The window of the barbershop has been scratched out at the right of the frame.

D.H. Wulzen’s photos of a fish store serving a child customer and a lone man fortunately captured a faint images of its business signage, i.e., 昌聚魚鋪 = (lit. “Prosperous Gathering”; canto: “Cheung Jeuih yu poh”; pinyin: “Chāng jù yú pù”). The small store had apparently established itself after the preparation of the 1894 immigration map and by the turn of the century, its address at no. 5 or 6-½ Washington Place can be determined by its neighbor, whose business name on its window can be read as 同德 (canto: “Tuhng Duck”), a barbershop located at no. 3 Washington Place.

Listing for the “Tong Tuck” barbershop at 3 Washington Place from the Horn Hong & Co. Chinatown Business Directory and lunar Calendar for 1892.

Washington Place, a.k.a. Fish Alley, no date. Photographer unknown (from a private collection on eBay). The image looks north toward Jackson Street, and the store at left appears to be the store located at no. 4 Washington Place.

Several photos of Arnold Genthe provide the basis for a reasonable guess about the Chung Hing & Co. poultry store’s probable occupancy of the space at no. 4 Washington Place.

“Fish Alley, Chinatown, San Francisco” a.k.a. “Booth, Fish Alley, Chinatown, San Francisco” undated [c. 1895- 1905]. Photograph by Arnold Genthe (from the collection of the Library of Congress Prints and Photographs Division). “Freshly killed chickens are hanging from the rack,” writes historian Jack Tchen, “with wooden chicken crates visible in the background. Fish as redisplayed on the table to the right. An American-made scale is hanging in the upper left-hand corner of the photograph.”

In addition to his Fish Alley photo which appeared in two editions of his photos of old Chinatown, Arnold Genthe took at least two other wider-angle images of the Chung Hing & Co. store.

“Two women and a child walking down a sidewalk between crates, Chinatown, San Francisco” c. 1896- 1906. Photograph by Arnold Genthe (from the collection of the Library of Congress Prints and Photographs Division).

This clumsily-named photo of a man and probably two daughters walking past a poultry store appears to be the same shop depicted in Genthe’s “Fish Alley” photo, at no. 4 Washington Place. Although two large lanterns adorn the entryway, the work table (at left), the scale and the basket of eggs suspended to the left of its entrance are identical.

“Vendors and a horse and cart on a street, Chinatown, San Francisco,” c. 1896- 1906. Photograph by Arnold Genthe (from the collection of the Library of Congress Prints and Photographs Division). This photo represents the third image captured by Genthe of the poultry store probably located at no. 4 Washington Place, a.k.a. Fish Alley. The presence of the pair of lanterns over the entryway to the store indicates that it was taken closer in time to the preceding photo of a man and his daughters walking past this store.

Genthe’s photos from across the alleyway affords a better view of the building elevations. The “Vendors” photo probably depicts the west side of Washington Place or Alley on which the poultry stores operated. From left to right, one sees the Fish Alley store occupying the larger opening of a brick building, followed by a narrower entry opening, presumably leading to a stairway to the upper floors. The horse cart is parked in front of a wooden structure which abuts a two-story brick building with a light façade which, in turn, is adjacent another brick building. This combination of buildings, i.e., “brick-wood-brick-brick” more closely fits the line of structures starting at no. 4 Washington Place and proceeding sequentially as noted on the 1894 Map sketched by immigration officer John Lynch (the “1894 Map”).

“Fish Market, Two Men,” circa 1901. Photograph by D. H. Wulzen (from the D.H. Wulzen Glass Plate Negative Collection (Sfp 40), San Francisco History Center, San Francisco Public Library). Wulzen’s photo depicts the same poultry store seen in Genthe’s “Fish Alley” and related photos. The store’s poultry cages against the left wall of the interior are more visible in the background. The stairway to the upper floors appears more clearly in the center, and the Wulzen photo confirms the wooden construction of the adjacent building at right.

Fortunately, Dietrich H. Wulzen, Jr., shared with his photographic peers a fascination with the businesses which operated on old Chinatown’s Fish Alley. Viewing both images of the same store by Genthe and Wulzen allows the viewer to understand better the context of the built environment of Fish Alley and, in particular, the location of the poultry store at no. 4 Washington Place.

“Clerk at poultry market, chicken hanging,” circa 1901. Photograph by D. H. Wulzen (from the D.H. Wulzen Glass Plate Negative Collection (Sfp 40), San Francisco History Center, San Francisco Public Library). Wulzen took another photo of the Chung Hing & Co. poultry store at 4 Washington Place from a different angle and into its interior. The “clerk” seen dressing a bird appears to be the same man seen in the background of the previous photo in this series.

In his book Picturing Chinatown: Art and Orientalism in San Francisco, art historian Anthony W. Lee wrote about Wulzen and “Fish Market, Two Men” as follows:

“[Wulzen] was especially attentive to Genthe’s pictures of these spaces in the quarter more frequented by the working class. Of his fifty-five plates, more than forty were shot in the alleys, including Fish Market, Two Men … photographed on Washington Place. It closely resembles Genthe’s picture of the same subject …, differing primarily in the angle of approach and the wares (fish, not poultry) that the vendor has displayed. Wulzen even carefully registers the sloping table and the slight angles of the two washbasins beneath it, just as Genthe had done.”

Unlike the case of several of his prominent contemporaries, Wulzen’s glass plate negatives escaped the destruction caused by the 1906 Earthquake and Fire, and his son Frank donated the negatives to the San Francisco Public Library (SFPL) on the 90th anniversary of the disaster. The SFPL added Wulzen’s Chinatown scenes to its online offerings in 2016. Born in 1862, Wulzen became a pharmacist in 1889, studying at the Affiliated Colleges on Parnassus Heights. In the 1890s, according to the SFPL, he became interested in photography and added a Kodak Agency to his drug store. Wulzen joined the California Camera Club and became known for a photographic style which was “straightforward and realistic, unlike the dominant ‘artist’ photography of the club.”

“Chinese Fish Peddler, San Francisco Chinatown” c. 1900. Photographer unknown (from the collection of the Monterey County Historical Society). This hitherto unidentified photo also appears to be the same shop at no. 4 Washington Place which had attracted the interests of photographers Genthe and Wulzen.

The 1894 Map identifies the shop at no. 4 Washington Place as the “Chung King poultry & fish” store, but the business listings of the day, such as the Horn Hom & Co. directory of 1892 lists the name as “Chung Hing” (祥興; canto: “Cheung Hing”), and the 1895 Langley directory denotes the name as “Chong Hing & Co., 4 Washington Alley.”

“The Fish Market” undated [c. 1895- 1905]. Photograph by Arnold Genthe (from the collection of the Library of Congress Prints and Photographs Division). A print of this photo is also known by the title “Fish Market Scales” (without attribution to Genthe) in the collection of the California Historical Society. Based on the small sign appearing above the doorway on the right of the image, historian Jack Tchen identified the location of this scene as the Chong Tsui store (昌咀; lit. Prosperous Assemblage”; canto: “Cheung Jeuih”) at 5-½ Washington Place.

Examination of images by other photographers and the Horn Hom Co. business directory of 1892 indicate that Jack Tchen misidentified the store in his book about Arnold Genthe’s photographs. The Chinese signage over the main storefront entrance of the store shown in Genthe’s photo reads from right to left as 廣興 or Quong Hing (canto: “Gwong Hing”). The Quong Hing store was located at 7 Washington Place.

Listing for the “Qung Hing” meat market at 7 Washington Place from the Horn Hong & Co. Chinatown Business Directory and lunar Calendar for 1892.

Untitled photo of the Quong Hing store located at 7 Washington Place, c. 1892. Photographer unknown (from a private collector item on eBay). The sign for the store appears more clearly in the upper-right corner of this photo than as shown in the Arnold Genthe photo of the same store.

“Chinatown market, San Francisco California, 1895.” Photograph by Wilhelm Hester (from the University of Washington Libraries, Special Collections). The sign appearing in the left of the frame reads 恆昌棧 (canto: “Hun Cheung Jan”; lit. “Lasting Prosperity store”), which occupied the space at no. 7 Washington Place or Alley.

To some readers, the Chinese character “棧” could also be interpreted to be an “inn” or a boarding house. However, the Langley directories of 1894 and 1895 (the same year during which Wilhelm Hester took his photograph of a group of men gathered outside this storefront), lists a fish purveyor, “Hung Chong John, 7 Washington Alley.”

Hester is perhaps best known for his documenting the maritime activities of the Puget Sound Region and his time spent in Alaska during the gold rush of 1898. According to the University of Washington archivists, the bulk of his photos of the early history of ships and shipping in Washington State were taken between 1893 and 1906. Born in Germany in 1872, Hester moved to the Pacific Northwest in 1893. He established successful photo studios in Seattle and Tacoma, principally taking and selling photographs of maritime subjects, as ships from around the world and their crews docked at various Puget Sound ports.

The listing for the Hung Chong John store in the Langley directory of 1895

It appears that the Hung Chong John business shared the same address as the Quong Hing store. The address-sharing was not uncommon for this building. At least as early as 1885 (when the city prepared its “official map” of Chinatown), the building at no. 7 Washington Place was subdivided by three businesses all with the same address.

Detail showing the subdivision of the building at no. 7 Washington Place in the San Francisco Board of Supervisors official map of Chinatown, July 1885 (from the Cooper Chow collection at the Chinese Historical Society of America).

Untitled photo of the west side of Washington Place (a.k.a. “Fish Alley), probably in the morning. Photographer unknown. The wooden structure at left probably served as the shop spaces for the Kim Kee and Man Hop stores occupying the addresses at no. 6 - 8 Washington Place.

Unfortunately, the Langley directory of 1893 omits a separate Chinese directory and appears to have excluded Chinese businesses from its general listings. Based on its omission from the Horn Hong & Co. directory/calendar of 1892, the Hung Chong John store’s 1894 listing validates the year of 1895 during which Wilhelm Hester reportedly took his set of photos of Chinatown’s Fish Alley along Washington Place.

“Chinatown – fish market, c. 1900.” Photograph by D. H. Wulzen (from the D.H. Wulzen Glass Plate Negative Collection (Sfp 40), San Francisco History Center, San Francisco Public Library). D.H. Wulzen’s no-nonsense approach produced vivid images of one store in particular, the Hop Chong Jan company, located at 12 Washington Place.

D.H. Wulzen took at least three versions of his “Fish Market” photo (one of which is reversed on the SF Public Library website). The business sign on the middle column of the storefront reads as follows: 合昌棧 (canto: “Hop Cheung Jaanh”; pinyin: “Hé chāng zhàn”). According to the 1894 Map, a business named “Hop Chong Jan & Co.” was located on the east side of the street at no. 12 Washington Place (a.k.a. Fish Alley).

Detail from 1894 map of Washington Place or Alley by immigration officer John Lynch (from the collection of the National Archives).

Listing for the Hop Chong Jan market at 12 Washington Place from the Horn Hong & Co. Chinatown Business Directory and Lunar Calendar for 1892.

“Chinatown – fish market, c. 1900. Photograph by D. H. Wulzen (from the D.H. Wulzen Glass Plate Negative Collection (Sfp 40), San Francisco History Center, San Francisco Public Library). The business sign on the middle column of the storefront in this image is more faint, but the Chinese characters of 合昌棧 (canto: “Hop Cheung jaanh”; pinyin: “Hé chāng zhàn”) can be discerned.

The Hop Chong Jan company store also inspired other camerapersons to photograph its daily operations. The upper level of the building in which the Hop Chong Jan company at no. 12 Washington Place featured a wrought-iron balcony. The balcony grillwork enhanced interest in this building, as it figured prominently in other photographs and postcards from that era.

“Fish Alley, Chinatown” c. 1900. Photographer and postcard artist unknown, published by Edward H. Mitchell of San Francisco). Although unidentified, the postcard depicts the Hop Chong Jan company at no. 12 Washington Place. The details seen in the card are extraordinary, as they include sidewalk items seen in the photographs of the same building by D.H. Wulzen.

Untitled, San Francisco Chinatown, c. 1900. The sign on the column of the storefront 合昌棧 (canto: “Hop Cheung jaanh”; pinyin: “Hé Chāng zhàn”) can be seen in the center for the Hop Chong Jan fish market at no. 12 Washington Place.

“Chinatown market, San Francisco California, 1895.” Photograph by Wilhelm Hester (from the University of Washington Libraries, Special Collections). In this view of two men in front of the store at no. 12 Washington Place, looking toward the southeast from the middle of the alleyway, the sign on the column (in the right half of the frame) faintly reads 合昌棧 (canto: “Hop Cheung jaanh”; pinyin: “Hé Chāng zhàn”) for the Hop Chong Jan fish market.

“Chinatown market, San Francisco California, 1895.” Photograph by Wilhelm Hester (from the University of Washington Libraries, Special Collections). In this closer view of two Chinese and one white man in front of the store at no. 12 Washington Place, looking toward the southeast from the middle of the alleyway, the store’s sign cannot be seen. The presence of two lanterns from under the balcony’s overhang indicates that this photo was taken of the Hop Chong Jan (合昌棧; canto: “Hop Cheung jaanh”; pinyin: “Hé chāng zhàn”) market at a different time. Certain details such as the window at left, the hanging scale, and the display shelves are identical to Hester’s other photos of the store.

“Chinatown, San Francisco California,” c. 1895. Photograph by Wilhelm Hester (from the University of Washington Libraries, Special Collections). In this street scene showing two Chinese American men and a child in front of a market, the view is of no. 12 Washington Place, looking south down the east side of the alleyway toward Washington Street. Certain details such as the window at left, the hanging scale, and the display shelves are identical to Hester’s other photos of the Hop Chong Jan 合昌棧 (canto: “Hop Cheung jaanh”; pinyin: “Hé Chāng zhàn”) market.

Untitled photo of Washington Place, a.k.a. Fish Alley, in pre-1906 Chinatown. Photographer unknown (from the collection of the Bancroft Library). The photo shows almost the full elevation of the building at no. 12 Washington Place on the east side of the short street, looking north toward Jackson Street. To the right of the store frontage, a door and an interior stairway appears in virtually all images of the building at no. 12 Washington Place. The stairs presumably lead to the upper floors of the building. My grandmother, Lillian Hee, was born in one of upper apartments above this store on October 31,1898.

“Chinatown – fish market on Dupont Street, circa 1900.” Photograph by D. H. Wulzen (from the D.H. Wulzen Glass Plate Negative Collection (Sfp 40), San Francisco History Center, San Francisco Public Library).

Wulzen’s photo of a fish market fortunately included the signage for “Hop Sing – clams” in the left of the frame. The San Francisco Public Library’s information that this market was located on Dupont Street is probably erroneous for at least several reasons. The 1894 Map by immigration officer John Lynch placed a “Hop Sing fish" company as located at No. 13 Washington Place (a.k.a. Fish Alley), on the west side of the street. Lynch also included a notation that the building was of “wood” construction, and Wulzen’s photo supports that conclusion. Moreover, the low-rise aspect of the building in the photo appears inconsistent with the higher elevation structures on Dupont Street in Chinatown. The Langley business directory of 1895 tends to support Lynch’s finding, although it lists a “Y Sing & Co.” at 13 Washington Alley, which might have been a typographical error.

“Chinatown – fish market, circa 1900.” Photograph by D. H. Wulzen (from the D.H. Wulzen Glass Plate Negative Collection (Sfp 40), San Francisco History Center, San Francisco Public Library). For this close-up shot of the same Hop Sing market (no. 13 Washington Place), the San Francisco Public Library has produced no evidence backing its claim of a Dupont St. location.

“Fish Market, One man sitting, “HOP SING CLAMS” sign,” circa 1900.” Photograph by D. H. Wulzen (from the D.H. Wulzen Glass Plate Negative Collection (Sfp 40), San Francisco History Center, San Francisco Public Library). This third shot of the Hop Sing market (at 13 Washington Place shows its operator during a lull in customers. The San Francisco Public Library also incorrectly identifies the location of the market on Dupont Street.

“Chinatown – fish market, circa 1900.” Photograph by D. H. Wulzen (from the D.H. Wulzen Glass Plate Negative Collection (Sfp 40), San Francisco History Center, San Francisco Public Library). Fortunately, the photograph shows a portion of the business sign above the man holding a scale and which was largely obscured by the store’s awning. According to the 1894 map and the Horn Hong & Co. directory of 1892, the Quong Shing (廣城; canto: “Gwang Sing”) store was located at no. 15 Washington Place. The 1894 map described the “Quong Shing & Co.” as a small general merchandise store.

“Fish Market, a woman watches a man weigh fish,” c. 1900. Photograph by D. H. Wulzen (from the D.H. Wulzen Glass Plate Negative Collection (Sfp 40), San Francisco History Center, San Francisco Public Library). From a slightly different angle as the preceding photo, Wulzen took a second shot of the Quong Shing (廣城; canto: “Gwang Sing”) store was located at no. 15 Washington Place.

“Fishmonger.” Photographer unknown from the collection of the California Historical Society). The proprietor of a fish store provides an unusual smile in this photo taken on old Chinatown’s Fish Alley. The only clue to the store’s location are provided by the business signage in the upper center of the image and above a handwritten number “22” on the inside left wall of the shop entrance: a fanciful Chinese name 老倌祥城魚棧客 (lit.: “Old Shepherd Felicitous City Fish Store”; canto: “Low gwun cheung sing yu jahn haak”; pinyin: Lǎo guān xiáng chéng yú zhàn kè).

The store at no. 22 Washington Place was located almost in the middle of the block on the eastern side of the street. Unfortunately, only the prior occupant of the storefront space was not noted on the 1894 Map, and the name of a predecessor business (“Tong Yuen Hing”) appears in the Horn Hong & Co. directory of 1892 at the address.

“Discussing It In Chinatown,” 1897. Photographer unknown (from Wasp magazine of 1897). At left the sign of “Tuck Cheong Lung” & Co. (德昌隆 canto: “Duck Cheung Loong”; lit. “virtue and prosperity land”) appears which the Horn Hong directory of 1892 and the Langley directory of 1895 located at 26 Washington Alley or Place and identified as a grocery on the immigration officer’s 1894 map of the small street.

The middle portion of the hand-drawn map of Washington Place or Alley by immigration officer John Lynch from 1894. The southerly end of the alleyway appears at the top of the image.

The last third of the hand-drawn map of Washington Place or Alley by immigration officer John Lynch from 1894. The northerly end of the alleyway at Jackson Street appears toward the bottom of the sketch.

A portion of “No. 145. Chinese Restaurant, San Francisco. Cal.” c. 1875. Stereograph by J.J. Reilly (from the collection of the Oakland Museum of California). The barely discernible Chinese characters on the glass lanterns of the second floor balcony further attest to the restaurant’s name as 聚英楼 or, Cantonese pronunciation, “Jeuih Ying Lauh”). The Bishop directory of 1875 confirms that the English rendering of the restaurant’s name was “Choy Yan Low,” and its address listing read as follows: “restaurant SE cor [sic] Washington alley and Jackson.”

According to the maps of that era, the southeast corner of the intersection corresponded to the address of 633 Jackson Street. As indicated by the 1894 Map, gambling establishments dominated the northern end and eastside of Washington Place (essentially the same pattern as documented in the “vice map” prepared by the city in July 1885). Not surprising, three men can be seen standing on the eastside sidewalk of Washington Place (at right); they are positioned near the entrances to the gambling parlors.

Detail of the north end of Washington Place from the July 1885 “vice map” of prepared by San Francisco.

For example, newspaper accounts from the late 1890’s placed the “Man Lee Dow” lottery operation at either 29 or 39 Washington Alley.

“The Man Lee Dow Lottery Office” illustration from the San Francisco Call of July 25, 1899.

The San Francisco Call in its July 25, 1899, edition described the Fish Alley gambling establishment as follows:

“At 39 Washington alley, commonly known as Fish alley, is the home of Man Lee Dow Lottery Company. Here also tickets are sold openly to any Chinaman who wishes to invest in the seductive game. The crowds are not so great about the doors of Man Lee Dow, for that company is in bad odor and Fook Tai [on St. Louis Alley] is taking away most of its customers. Bu Man Lee Dow, like Fook Tai, feels safe from police interference and runs wide open and has banished secrecy from its category of accomplishments. There are other lotteries in Chinatown -- many of them -- but they are still compelled to do business undercover. Possibly they do not stand in with the powers that be, as the friends of Fook Thai and Man Lee Dow claim these latter companies do. Possibly Fook Tai and Man Lee Dow do not have a “pull” with the police, but it is a fact that every Chinaman in town and many white men know that the tickets are sold openly every day and that the drawings are held in public in the rooms at the places mentioned. There is evidently either negligence, ignorance or -- on the part of the police.

“The success of these two companies and getting business matters so well fixed has caused other is to Chinamen to think that competition will be the life of trade . . .”

Untitled photo of the northern end of Washington Place, a.k.a. Fish Alley or Tuck Wo gaai, looking south from Jackson toward Washington Street, c. 1890s. Photographer unknown. The Tuck Wo (德和) market for which the short street of Washington Place was named by the Chinese, occupied the southwest corner of the intersection partially seen in the foreground and to the right of the frame (at 635 Jackson Street). The entrances to gambling parlors were located along the east side of the alleyway at the northern end of Fish Alley and across from the alleyway frontage of the Tuck Wo market.

The listing for the Tuck Wo & Co., from the 1871 Wells Fargo directory of Chinese businesses in San Francisco.

Untitled photo of the northern end of Washington Place, a.k.a. Fish Alley or Tuck Wo gaai, looking south from Jackson toward Washington Street, no date. Photographer unknown (from a private collection). In this shot taken from the north side of Jackson Street, more of the Tuck Wo market’s frontage is seen at right. The suspended streetlamp is not visible in the image, so this photo may have predated the 1890′s.

“The Butcher, Chinatown, San Francisco” undated [c. 1895- 1905]. Photograph by Arnold Genthe (from the collection of the Library of Congress Prints and Photographs Division). Genthe mistakenly titled this photo, as the man working over the table is fileting fish from his storefront on Washington Place, a.k.a. Fish Alley.

“Fish Alley, Chinatown. San Francisco, California” c. 1905. Postcard probably based on a photograph by Charles Weidner. The view appears to look north on Washington Place, a.k.a. Fish Alley, in old Chinatown.

The status of Washington Place as “Fish Alley” as a fish and poultry destination appeared to have endured until the earthquake and fire of 1906. The small street suffered the same fate of obliteration as every other street in old Chinatown. As Will Irwin wrote about this lost street of old Chinatown (while offering nothing substantial about the Chinese themselves): “Where is Fish Alley, that horror to the nose, that perfume to the eye?”

“Fish Alley, Chinatown” c. 1898. Drawing by A.M. Robertson (from the collection of the Bancroft Library). In this artist’s rendering the markets on Washington Place of old Chinatown, the building at no. 12 is seen in the center, the birthplace of my grandmother in the same year this drawing was published.

In Chinatown today, the sign for the old alleyway still bears the old Chinese street name from the pioneer era.

The street sign for Wentworth Place on the northwest corner of its intersection with Washington Street, June 22, 2022. Photo by Doug Chan. The sign still bears the Chinese name for the small street,德和街(canto: “duck who gaai”), the name of an old Chinatown business which occupied the southwest corner of the “T” intersection of Wentworth Place and Jackson Street from at least 1875 to 1906.

Wentworth Place, May 14, 2021. Photograph by Doug Chan. The city renamed Washington Place, a.k.a. Washington Alley or “Fish Alley,” to Wentworth Place after Chinatown was rebuilt in the wake of the 1906 earthquake and fire. Since at least 1875, Chinatown’s residents have called this small street connecting Washington to Jackson streets as “Tuck Wo Gaai” (德和街).

Recollections of the now-legendary Fish Alley of old Chinatown have faded from living memory. Many, if not most, Chinatown residents are unaware of the street name’s origin.

Former Supervisor, Board of Education commissioner, and attorney Bill Maher on Wentworth Place between the rainstorms on Jan. 4, 2023, contemplates the small street where my grandmother (嫲嫲 ) was born on Halloween in 1898 as a third-generation Californian. Photograph by Doug Chan. Once known as Washington Place and “Fish Alley” to English speakers, the street sign still bears the old Chinese urban pioneer name of “Tuck Wo St.” (德和街; canto: “Duck Wo gaai”) for today’s residents of San Francisco Chinatown.

The vitality of the small street, however, not only lives on with the stories and the old images of its past, but Wentworth Place also serves as the home of the “Lion’s Den Bar and Lounge.” As the first genuine nightclub to open in almost a half-century in Chinatown, its establishment might one day be regarded as one of the events which sparked an economic revival in the neighborhood.

Fish Alley: it’s where we began; it’s where we’ll begin again.

“Fish Alley Old Chinatown” painting by Charles Albert Rogers (from the collection of the Bancroft Library).

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jpgcore · 3 years

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365days365movies · 3 years

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January 11, 2021: Come Drink with Me (Epilogue)

Y’know, I went back and looked at my Top Gun review today, and I realized something: it’s been a while since I had a wholly negative outlook on a film, huh? And, honestly, this one’s the same. Spoiler alert, I liked this movie. Which must not be the most entertaining thing to read, sorry.

BUT STILL

I love wuxia, even though I’ve not seen a lot of it. Another reason I wanted to throw it into this month. Hero remains one of the most beautiful films I’ve ever seen.

And I’m looking forward to a little more Zhang Yimou, that’s for sure. That said, what did I think of the first major wuxia film? I mean, I just said I loved it...

BUT STILL

Review

Cast and Acting

Awesome! Judging it on slightly different standards than acting today, as sensibilities have definitely changed since 1966. But yeah, acting’s good, cast is good, no complaints here. Some special call-outs for Cheng Pei-Pei (Golden Swallow), Yuen Ha (Drunken Cat) and Chan Hung-Lit (Jade Faced Tiger). And for the record, based on today’s standards, it’d all be a little over the top. But this ain’t today, it’s 1966 Hong Kong! So, as far as I can see, there’s nothing really wrong with the acting here!

Cast and Acting: 9/10

Plot and Writing

Simple and engaging plot! Two prisoners, two groups, and conflict around that fact. It’s a pretty simple plot, surrounded by effective writing. Again, no big complaints here. Well...maybe one. The story kind of completely changes protagonists in the middle, from Swallow to Cat. And while Swallow does get a conclusion that’s satisfying enough, I feel like she loses her agency and usefulness to the plot once she gets poisoned. However, it’s not the biggest issue in the world. Just a personal preference. Plus, props for not making the two protagonists love interests.

Plot and Writing: 8/10

Direction and Action

The director of this movie is King Hu, a wuxia pioneer, screenwriter, and set designer. His skill in filming fight choreography is pretty apparent, as is the fight choreography itself. So, yeah, he does a great job. While I was definitely expecting more dramatic action for wuxia, this is obviously very early in the genre, and the crazy shit hadn’t been introduced to it yet. So, outside of that...this action is fantastic, and interesting to watch! So, yeah, top marks for this one.

Direction and Action: 10/10

Production Design

The costumes are gorgeous and iconic on basically all fronts. Jade-Faced Tiger and Swallow’s outfit at the temple definitely stick out in my memory. The sets are beautiful as well, and I do indeed feel like I’m in an old China as the movie progresses. Little touches, like an unfinished game of Go in the background, really add to the authenticity of the film. Which makes sense, since it IS a Chinese film. Gorgeous movie, gorgeous sets, gorgeous costumes...gorgeous. Lighting sometimes leaves something to be desired.

Production Design: 9/10

Music and Editing

OK, Good news first. Not only is the music good, it’s also narratively useful, ESPECIALLY for Drunken Cat. His subtle little leitmotif rears its head a few times in the film, and is originally introduced when he sings his message to Swallow. This score is fantastic as well, and something I’d actually consider purchasing if I could. I’m a forever GM, and I’ve considered running a Pathfinder path based around China. If I ever do, I’ll be using this soundtrack as backing, it’s that good.

Bad news? THE DUB. Yeah, I can’t forgive the dub for this movie. Seriously, it is TERRIBLE. If you watch this movie, you’ll have to do what I did and hunt down the original Mandarin version of this movie. Because the English dub is SO BAD, that it actually completely derails an important plot revelation in the film revolving around Cat. It’s SO ATROCIOUS, that I gotta give 1 point off. Seriously. It’s petty, sure, but I genuinely hate the dub that much, you have NO idea.

Music and Editing: 9/10

90%!

Seems about right, as this movie was great! Yup. Wuxia. Let’s do it, I’m all in, seriously. LET’S WATCH SOMETHING ELSE AWESOME.

January 12, 2021: Crouching Tiger, Hidden Dragon (2000)

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caglar-yusuf-yucedag · 4 years

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BU YIL İZLEYECEĞİM FİLM LİSTESİ

1.) Animals with the Tollkeeper - Hayvanlar, Melekler ve İnsanlar (1998) / Fantastik

Ø Yönetmen : Michael Di Jiacomo / Oyuncular : Tim Roth, Mili Avital, Rod Steiger

2.) Andrey Rublyov - Andrei Rublev (1966) / Dram, Biyografik

Ø Yönetmen : Andreï Tarkovski / Oyuncular : Anatoli Solonitsyne, Tamara Ogorodnikova, Ivan Bykov

3.) Back to the Future - Geleceğe Dönüş (Seri Film I, II, III) / (1985) / Bilimkurgu, Macera

Ø Yönetmen : Robert Zemeckis / Oyuncular : Michael J. Fox, Christopher Lloyd, Lea Thompson

4.) Twelve Angry Men - 12 Öfkeli Adam (1957) / Dram

Ø Yönetmen : Sidney Lumet / Oyuncular : Henry Fonda, Martin Balsam, John Fiedler

5.) Krótki film o zabijaniu - Öldürme Üzerine Kısa Bir Film (1988) / Dram

Ø Yönetmen : Krzysztof Kieslowski / Oyuncular : Miroslaw Baka, Krzysztof Globisz, Jan Tesarz

6.) Krótki film o milosci - Aşk Üzerine Kısa Bir Film (1988) / Dram, Romantik

Ø Yönetmen : Krzysztof Kieslowski / Oyuncular : Grazyna Szapolowska, Olaf Lubaszenko, Stefania Iwinska

7.) Alice in den Städten - Alice Kentlerde (1974) / Dram

Ø Yönetmen : Wim Wenders / Oyuncular : Rüdiger Vogler, Yella Rottländer, Lisa Kreuzer

8.) Amadeus (1984) / Dramatik, Komedi, Tarihi

Ø Yönetmen : Milos Forman / Oyuncular : Tom Hulce, F. Murray Abraham, Simon Callow

9.) Before Sunrise - Gün Doğmadan Önce (1995) / Romantik

Ø Yönetmen : Richard Linklater / Oyuncular : Ethan Hawke, Julie Delpy, Andrea Eckert

10.) Being There - Merhaba Dünya (1979) / Dramatik, Komedi

Ø Yönetmen : Hal Ashby / Oyuncular : Peter Sellers, Shirley MacLaine, Melvyn Douglas

11.) Big Fish - Büyük Balık (2003) / Dramatik, Komedi, Fantastik

Ø Yönetmen : Tim Burton / Oyuncular : Ewan McGregor, Albert Finney, Jessica Lange

12.) Blow Up - Cinayeti Gördüm (1966) / Dram

Ø Yönetmen : Michelangelo Antonioni / Oyuncular : Jane Birkin, Gillian Hills, Julian Chagrin

13.) Blue Velvet - Mavi Kadife (1986) / Polisiye, Dram, Gerilim

Ø Yönetmen : David Lynch / Oyuncular : Isabella Rossellini, Kyle MacLachlan, Dennis Hopper

14.) Breaking the Waves - Dalgaları Aşmak (1996) / Dram, Romantik

Ø Yönetmen : Lars von Trier / Oyuncular : Emily Watson, Stellan Skarsgård, Jean-Marc Barr

15.) Chung Hing sam lam - Chungking Express (1994) / Dram

Ø Yönetmen : Wong Kar-Wai / Oyuncular : Brigitte Lin Ching-hsia, Tony Leung Chiu Wai, Faye Wong

16.) Dancer in the Dark - Karanlıkta Dans (2000) / Müzikal, Dram, Polisiye

Ø Yönetmen : Lars von Trier / Oyuncular : Björk, Catherine Deneuve, Peter Stormare

17.) Das Boot - Deniz Altı (1981) / Dram, Savaş Filmi

Ø Yönetmen : Wolfgang Petersen / Oyuncular : Jürgen Prochnow, Erwin Leder, Herbert Grönemeyer

18.) Dead Man - Ölü Adam (1995) / Western, Dram

Ø Yönetmen : Jim Jarmusch / Oyuncular : Johnny Depp, Gary Farmer, Crispin Glover

19.) Delicatessen – Şarküteri (1991) / Komedi, Dram, Korku, Fantastik

Ø Yönetmen : Jean-Pierre Jeunet, Marc Caro / Oyuncular : Dominique Pinon, Karin Viard, Ticky Holgado

20.) Der Himmel Über Berlin - Berlin Üzerindeki Gökyüzü (1987) / Fantastik, Romantik

Ø Yönetmen : Wim Wenders / Oyuncular : Bruno Ganz, Solveig Dommartin, Otto Sander, Peter Falk

21.) Dial M. for Murder - Cinayet Var (1954) / Gerilim, Polisiye

Ø Yönetmen : Alfred Hitchcock / Oyuncular : Ray Milland, Grace Kelly, Robert Cummings

22.) Dogville (2003) / Gerilim, Dram

Ø Yönetmen : Lars von Trier / Oyuncular : Nicole Kidman, Paul Bettany, Patricia Clarkson

23.) Dolls – Bebekler (2002) / Dram, Romantik

Ø Yönetmen : Takeshi Kitano / Oyuncular : Hidetoshi Nishijima, Miho Kanno, Tatsuya Mihashi

24.) The Grapes of Wrath - Gazap Üzümleri (1940) / Dram

Ø Yönetmen : John Ford / Oyuncular : Henry Fonda, Jane Darwell, John Carradine

25.) Hable con ella - Konuş Onunla (2002) / Dram, Komedi, Romantik

Ø Yönetmen : Pedro Almodóvar / Oyuncular : Javier Cámara, Dario Grandinetti, Leonor Watling

26.) Hair - Bırak Güneş İçeri Girsin (1979) / Müzikal

Ø Yönetmen : Milos Forman / Oyuncular : Michael Jeter, Donald Alsdurf, John Savage

27.) Harold and Maude (1971) / Dram, Komedi, Romantik

Ø Yönetmen : Hal Ashby / Oyuncular : Ruth Gordon, Bud Cort, Vivian Pickles

28.) Idi i smotri - Gel ve Gör (1985) / Dram, Savaş Filmi

Ø Yönetmen : Elem Klimov / Oyuncular : Olga Mironova, Vladas Bagdonas, Juris Lumiste

29.) In the name of the father - Babam İçin (1993) / Dram

Ø Yönetmen : Jim Sheridan / Oyuncular : Daniel Day-Lewis, Pete Postlethwaite, Emma Thompson

30.) It's a Wonderful Life - Şahane Hayat (1946) / Komedi, Dram, Fantastik

Ø Yönetmen : Frank Capra / Oyuncular : James Stewart, Donna Reed, Lionel Barrymore

31.) Kes – Kerkenez (1969) / Dram

Ø Yönetmen : Ken Loach / Oyuncular : David Bradley, Colin Welland, Freddie Fletcher

32.) Ladri di biciclette - Bisiklet Hırsızları (1948) / Dram

Ø Yönetmen : Vittorio De Sica / Oyuncular : Lamberto Maggiorani, Enzo Staiola, Lianella Carell

33.) Land and Freedom - Ülke ve Özgürlük (1995) / Dram, Savaş Filmi

Ø Yönetmen : Ken Loach / Oyuncular : Ian Hart, Rosana Pastor, Frédéric Pierrot

34.) Lock, Stock and Two Smoking Barrels - Ateşten Kalbe Akıldan Dumana (1998) / Polisiye

Ø Yönetmen : Guy Ritchie / Oyuncular : Jason Statham, Nick Moran, Dexter Fletcher

35.) Los Amantes del Círculo Polar - Kutup Çizgisi Aşıkları (1998) / Dram

Ø Yönetmen : Julio Medem / Oyuncular : Najwa Nimri, Fele Martínez, Nancho Novo

36.) Ma nuit chez Maud - Maud’la Bir Gece (1969) / Dram

Ø Yönetmen : Eric Rohmer / Oyuncular : Jean-Louis Trintignant, Françoise Fabian, Marie-Christine Barrault

37.) The Miracle worker - Karanlığın İçinden (1962) / Dram, Biyografik

Ø Yönetmen : Arthur Penn / Oyuncular : Anne Bancroft, Patty Duke, Victor Jory

38.) Moulin Rouge! - Kırmızı Değirmen (2001) / Müzikal, Romantik

Ø Yönetmen : Baz Luhrmann / Oyuncular : Nicole Kidman, Ewan McGregor, John Leguizamo

39.) My Left Foot: The Story of Christy Brown - Sol Ayağım (1989) / Dram

Ø Yönetmen : Jim Sheridan / Oyuncular : Daniel Day-Lewis, Brenda Fricker, Alison Whelan

40.) Naked – Çıplak (1993) / Dram

Ø Yönetmen : Mike Leigh / Oyuncular : David Thewlis, Lesley Sharp, Claire Skinne

41.) Nema-ye Nazdik - Yakın Plan (1990) / Dram

Ø Yönetmen : Abbas Kiarostami / Oyuncular : Mohsen Makhmalbaf, Abolfazl Ahankhah, Mehrdad Ahankhah

42.) Network – Şebeke (1976) / Dram

Ø Yönetmen : Sidney Lumet / Oyuncular : Faye Dunaway, William Holden, Peter Finch

43.) Pink Floyd The Wall - Pink Floyd Duvar (1982) / Dram, Müzik

Ø Yönetmen : Alan Parker / Oyuncular : Bob Geldof, Christine Hargreaves, James Laurenson

44.) Pleasantville - Yaşamın Renkleri (1998) / Fantastik, Dramatik, Komedi

Ø Yönetmen : Gary Ross / Oyuncular : Tobey Maguire, Jeff Daniels, Joan Allen

45.) Pulp Fiction - Ucuz Roman (1994) / Polisiye, Gerilim

Ø Yönetmen : Quentin Tarantino / Oyuncular : John Travolta, Samuel L. Jackson, Uma Thurman

46.) Rain Man - Yağmur Adam (1988) / Komedi, Dram

Ø Yönetmen : Barry Levinson / Oyuncular : Dustin Hoffman, Tom Cruise, Valeria Golino

47.) Reconstruction - Yeniden Sev Beni (2003) / Dram

Ø Yönetmen : Christoffer Boe / Oyuncular : Nikolaj Lie Kaas, Maria Bonnevie, Krister Henriksson

48.) Rosemary's Baby - Rosemary’nin Bebeği (1968) / Korku, Dram, Gerilim

Ø Yönetmen : Roman Polanski / Oyuncular : Mia Farrow, John Cassavetes, Ruth Gordon

49.) Rumble Fish - Siyam Balığı (1983) / Aksiyon, Dram

Ø Yönetmen : Francis Ford Coppola / Oyuncular : Matt Dillon, Mickey Rourke, Diane Lane

50.) Secrets and Lies - Sırlar ve Yalanlar (1996) / Dram

Ø Yönetmen : Mike Leigh / Oyuncular : Brenda Blethyn, Marianne Jean-Baptiste, Timothy Spall

51.) Shichinin no samurai - Yedi Samuray (1954) / Macera

Ø Yönetmen : Akira Kurosawa / Oyuncular : Toshirô Mifune, Takashi Shimura, Keiko Tsushima

52.) Sin City - Günah Şehri (2005) / Aksiyon, Gerilim, Polisiye

Ø Yönetmen : Robert Rodriguez, Frank Miller, Quentin Tarantino / Oyuncular : Bruce Willis, Mickey Rourke, Jessica Alba

53.) Singin' in the Rain - Yağmur Altında (1952) / Müzikal, Komedi

Ø Yönetmen : Stanley Donen, Gene Kelly / Oyuncular : Jean Hagen, Gene Kelly, Debbie Reynolds

54.) The Sixth Sense - Altıncı His (1999) / Gerilim, Dram

Ø Yönetmen : M. Night Shyamalan / Oyuncular : Bruce Willis, Haley Joel Osment, Toni Collette

55.) Solaris (1972) / Fantastik, Bilimkurgu

Ø Yönetmen : Andreï Tarkovski / Oyuncular : Natalya Bondarchuk, Donatas Banionis, Jüri Järvet

56.) Some Like It Hot - Bazıları Sıcak Sever (1959) / Komedi, Romantik

Ø Yönetmen : Billy Wilder / Oyuncular : Marilyn Monroe, Tony Curtis, Jack Lemmon

57.) Spellbound - Öldüren Hatıralar (1945) / Gerilim, Polisiye

Ø Yönetmen : Alfred Hitchcock / Oyuncular : Gregory Peck, Ingrid Bergman, Leo G. Carroll

58.) Stalker (1979) / Dram, Bilimkurgu

Ø Yönetmen : Andreï Tarkovski / Oyuncular : Alexandre Kaidanovski, Anatoly Solonitsyn, Nikolai Grinko

59.) Strange Days - Tuhaf Günler (1995) / Bilimkurgu, Aksiyon

Ø Yönetmen : Kathryn Bigelow / Oyuncular : Ralph Fiennes, Angela Bassett, Juliette Lewis

60.) Sullivan's Travels (1941) / Macera, Dramatik, Komedi

Ø Yönetmen : Preston Sturges / Oyuncular : Eric Blore, Torben Meyer, Victor Potel

61.) Sunset Blvd. (1950) / Dram, Romantik

Ø Yönetmen : Billy Wilder / Oyuncular : William Holden, Gloria Swanson, Erich Von Stroheim

62.) Il Buono, il brutto, il cattivo - İyi, Kötü ve Çirkin (1966) / Western

Ø Yönetmen : Sergio Leone / Oyuncular : Clint Eastwood, Eli Wallach, Lee Van Cleef

63.) The Graduate – Mezun (1967) / Dramatik, Komedi

Ø Yönetmen : Mike Nichols / Oyuncular : Anne Bancroft, Dustin Hoffman, Katharine Ross

64.) The Hours – Saatler (2002) / Dram, Romantik

Ø Yönetmen : Stephen Daldry / Oyuncular : Nicole Kidman, Julianne Moore, Meryl Streep

65.) The Man Who Wasn't There - Orada Olmayan Adam (2001) / Polisiye, Dram

Ø Yönetmen : Joel Coen / Oyuncular : Peter Schrum, Billy Bob Thornton, Frances McDormand

66.) The Others – Diğerleri (2001) / Fantastik, Dram, Korku

Ø Yönetmen : Alejandro Amenábar / Oyuncular : Nicole Kidman, Elaine Cassidy, Christopher Eccleston

67.) The Truman Show -Truman Show (1998) / Dramatik, Komedi

Ø Yönetmen : Peter Weir / Oyuncular : Jim Carrey, Laura Linney, Natascha McElhone

68.) The Usual Suspects - Olağan Şüpheliler (1995) / Polisiye, Gerilim

Ø Yönetmen : Bryan Singer / Oyuncular : Chazz Palminteri, Kevin Spacey, Gabriel Byrne

69.) Thelma ve Louise (1991) / Dramatik, Komedi

Ø Yönetmen : Ridley Scott / Oyuncular : Susan Sarandon, Geena Davis, Harvey Keitel

70.) They Shoot Horses, Don't They? - Atları da Vururlar (1969) / Dram

Ø Yönetmen : Sydney Pollack / Oyuncular : Jane Fonda, Michael Sarrazin, Susannah York

71.) Trois couleurs - Üç Renk: Mavi, Beyaz, Kırmızı (1993) / Dram

Ø Yönetmen : Krzysztof Kieslowski / Oyuncular : Juliette Binoche, Hélène Vincent, Philippe Volter

72.) Trainspotting (1996) / Dram, Polisiye

Ø Yönetmen : Danny Boyle / Oyuncular : Ewan McGregor, Ewen Bremner, Jonny Lee Miller

73.) Une Femme est une femme - Kadın Kadındır (1961) / Komedi

Ø Yönetmen : Jean-Luc Godard / Oyuncular : Anna Karina, Jean-Claude Brialy, Jean-Paul Belmondo

74.) Vivre sa vie: Film en douze tableaux - Hayatını Yaşamak (1962) / Komedi, Dram

Yönetmen : Jean-Luc Godard / Oyuncular : Anna Karina, Sady Rebbot, Andre S. Labarthe

75.) Welcome to Sarajevo - Saraybosna’ya Hoşgeldiniz (1997) / Dram, Savaş Filmi

Ø Yönetmen : Michael Winterbottom / Oyuncular : Stephen Dillane, Woody Harrelson, Marisa Tomei

76.) What Ever Happened to Baby Jane? - Bebek Jane’e Ne Oldu? (1962) / Dram, Gerilim

Ø Yönetmen : Robert Aldrich / Oyuncular : Bette Davis, Joan Crawford, Victor Buono

77.) Smultronstället - Yaban Çilekleri (1957) / Dram

Ø Yönetmen : Ingmar Bergman / Oyuncular : Victor Sjöstrom, Bibi Andersson, Ingrid Thulin

78.) Z (1969) / Dram, Tarihi

Ø Yönetmen : Costa-Gavras / Oyuncular : Yves Montand, Jean-Louis Trintignant, Irène Papas

79.) Serenity (2019) / Dram, Gerilim

Ø Yönetmen : Steven Knight / Oyuncular : Matthew McConaughey, Anne Hathaway, Djimon Hounsou

80.) The Game – Oyun (1997) / Gerilim

Ø Yönetmen : David Fincher / Oyuncular : Michael Douglas, Sean Penn, Deborah Kara Unger

81.) Equus - Kör Atlar (1977) / Dram, Psikolojik, Gerilim

Ø Yönetmen : Sidney Lumet

82.) Englar Alheimsins - Evrenin Melekleri (2000) / Biyografi, Dram

Ø Yönetmen : Friðrik Þór Friðriksson

83.) The Official Story - Resmi Tarih (1985) / Dram, Savaş

Ø Yönetmeni : Luis Puenzo

84.) The Duellists – Düellocu (1977) / Dram, Savaş

Ø Yönetmeni : Ridley Scott

İZLECEĞİM DİZİLER

1.) Barbarians

2.) The Punisher

3.) Band of Brothers

4.) The Pacific

5.) Tut

6.) The Long Road Home

#dizi #film

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the50-person · 5 years

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HONG KONG UPDATE 14TH JUNE 2019 17:43

As we saw from previous update (HONG KONG UPDATE 12TH JUNE 2019 21:17), police said they were gonna search a hall in University of Hong Kong. Two pro-democracy lawmakers went down to assist students, who were frantic with panic and fear. Legal team confirmed that police had no search warrant. Police came but didn't enter and left soon. Forums discussed about this incident as an example of "white terror" and psychological warfare to instill fear in young people.

Boys from elite school La Salle College stage sit-in before exams to condemn old boy Police Commissioner Stephen Lo Wai-chung, calling him "shame of La Salle". Members of the Old Boys Association are trying to get the association kick him out.

Newest plan: 16th June 2019 Sunday, march in black, 2.30pm Victoria Park

"A HK-based friend said to me today:

"Most protests around the world are people without rights, trying to get rights. In HK, it's people with rights trying to keep them."

The core challenge 4 the CCP in expanding their global power:

How to convince ppl to give up their rights?"

"In a press release, the Civil Rights Observer noted that the uniforms of the police's Special Tactical Squad masked their officer number, unlike when they were previously deployed in 2016."

Oxford students are now handing out pamphlets detailing the anti-extradition protests taking place in Hong Kong.

Memes and cartoons mocking the government have appeared on the internet.

TRIGGER WARNING VIDEO BELOW ***gun shooting***

Eng-subbed

video source:

In response to Carrie Lam's terrible analogy of a mother-son relationship to Lam vs Hong Kong, furious Hong Kong mothers are having gathering at Central's Chater Garden on 14th June 2019 7pm to support youths.

Hong Kong Blind Union disappointed with police who stopped visually-impaired members at Sunday's rally and asked if their white canes were weapons.

Michael Tien has become the first pro-Beijing legislator to openly call for a delay of the extradition bill.

"Taiwan has said it does not want the transfer [of murder suspect Chan Tong-kai], so I don't understand why [Carrie Lam] is still so adamant," he told reporters at LegCo.

This follows ExCo member Bernard Chan's suggestion in a morning RTHK show that the government should reconsider how to deal with the bill.

Fellow ExCo member Ronny Tong told Apple Daily that the government ought consider all options, including "not immediately passing it".

"Executive Council convenor Bernard Chan said it would be impossible to rush the legislation through, while Dr Lam Ching-choi and Fanny Law Fan Chiu-fun have both advocated taking a step back."

"Meanwhile, 22 former top officials and lawmakers issued an urgent appeal on Friday calling on Carrie Lam to withdraw the controversial bill.

In a written statement they also urged her advisers to counsel the chief executive to do so, and resign if their plea is ignored.

The signatories included former secretary for security Peter Lai Hing-ling, former chief secretary Anson Chan Fang On-sang, former deputy secretary for economic services Elizabeth Bosher and former Legco Senior Member Allen Lee Peng-fei."

#hong kong #news #china #chinese #anti-extradition #and so the world spins

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giornalepop · 5 years

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RESIDENT EVIL A FUMETTI: LA SAGA TRA MANGA E COMICS

Resident Evil a fumetti mi ha sempre affascinato. Trovo interessante i modi in cui un prodotto, un concetto, riesca a evolversi. Certo, Resident Evil, il videogioco survival horror realizzato dall’azienda giapponese Capcom, è un’amalgama di idee vecchie e stravecchie. Un corpus derivativo che va a pescare da cose tipo Bloodsuckers from Outer Space, The Boneyard, La città verrà distrutta all’albae…

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#hui king sum #lee chung hing #maseru miyazaki #naotsugu matsueda #resident evil #shonen champion

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the-gershomite · 7 months

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Resident Evil Code: Veronica Book 4 2002

(89-99 of 136)

writers: Lee Chung Hing & Hui King Sum

Art: Hui King Sum

English Dialogue by: Ted Adams & Kris Oprisko

Letterer: Cindy Chapman with Robbie Robbins for IDW

#resident evil #code veronica #zombies #lee chung hing #hui king sum #comics

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demospectator · 3 years

Photo

William Shew’s Pioneer Gallery, young woman with fan, after 1880, albumen cabinet cards, California Historical Society

When A Nascent National Security State Spurred Early Chinese American Studio Portraiture

In her book, In Sight of America: Photography and the Development of US Immigration Policy, historian Anna Pegler Gordon, observes that the introduction of “photographic identity documentation” in 1917 spurred the Chinese community and the relatively new Immigration Bureau to turn to Chinese photographers for identity certificates, as well as family use. Newcomers and deportees were photographed for federal authorities, and “a number” of professional photographers operated in the Chinatown of pre-1906 San Francisco.

Ka Chau reportedly established San Francisco’s first known Chinese “Daguerran Establishment” in 1854. Pegler-Gordon’s research found at least 25 professional Chinese photographers and galleries in San Francisco and other localities. The demand was sufficiently robust to induce white photographers to advertise in Chinese language newspapers for clients.

“I count nearly a dozen photographers who operated before the turn of the century, most in the carte de visite and cabinet card trade,” Anthony Lee writes in his book Picturing Chinatown Art and Orientalism in San Francisco. “They include Ka Chau on Sacramento Street in the 1850s; Kai Suck at 929 Dupont Street in the late 1860s; Ah Soo, War Tong Ho, and Ah Hing (at unknown addresses) in the early 1870s; Ah Chew at 492 Montgomery Street in the early 1870s; Lai Yong at 743 Washington Street between 1869 and 1881 and then incorporated as Sing Sung and Company at the same 743 Washington Street studio between 1882 and 1883; Ming Hin Chio and Sim Chung (at unknown addresses) in the early 1880s; and Wai Cheu Hin at 800 Stockton Street in the early 1890s. There may indeed have been many more Chinese photographers—those who did not advertise or who worked under the auspices of others . . .”

The Chinese consul general employed Fong Get Photo Studio (at 914 Stockton St.) to take official portraits that would bear inscriptions to federal officials, including the local immigration commissioner; Chinatown’s merchant elite retained non-Chinese studios, such as Hamilton’s Gallery and Shew’s Pioneer Gallery, to take their photos and, presumably, enhance their community standing; and the Immigration Bureau contracted with the studios to photograph detainees.

William Shew

Brilliant samples of the portraiture by William Shew’s studio may be viewed at the California Historical Society’s webpage here: https://californiahistoricalsociety.org/blog/from-the-archives-chinese-likenesses-from-san-francisco-portrait-studios/)

“Chay Yune” by Shew’s Pioneer Gallery c. post-1880 (from the collection of the California Historical Society

William Shew’s Pioneer Gallery, young woman with fan, c.1880, albumen cabinet cards, from the collection of the California Historical Society.

William Shew; Untitled self-portrait with a group of Chinese, c. 1882 (from the private collection of Stephen White). According to White, “Shew worked with the abolitionist movement in Boston, and then became involved in social issues in San Francisco. This photograph may have been a response to the Chinese Exclusion Act signed into law by President Chester Arthur in 1882, eliminating Chinese citizenship as well as immigration for ten years.”

Kai Suck

Little is known about Kai Suck whose photographic gallery was located at 929 Dupont Street in old Chinatown.

“Hand Gim” c. 1867. Photograph by Kai Suck. This portrait of a young man indicates that the photography studios were patronized by Chinese of different classes and not merely by the merchant elite.

Fung Tang, c. 1870. Photo by Kai Suck (from the collection of the California Historical Society).

In his day, Fung Tang was one of the elite merchants doing business in early Chinatown and San Francisco. As historian York Lo has written for The Industrial History of Hong Kong Group website, Fung was “a native of Jiujiang (Kow Kong) in the Nanhai county (南海九江) in Guangdong, Fung Tang followed his uncle Fung Yuen-sau (馮元秀) to California in 1857 at the age of 17 and worked at Tuck Chong & Co (德祥號辦莊), a trading business founded by his uncle and his fellow Nanhai native Kwan Chak-yuen (關澤元).” In the Langley San Francisco directory of 1868, the Tuck Chong & Co. is indeed listed as “(Chinese) merchants” located on Chinatown’s first main street at 739 Sacramento Street.

“In his spare time,” York Lo writes, “he learned English from Reverend William Speer and became fluent in the language. With his linguistic skills, he became a bridge between the Chinese and the white community in San Francisco and even befriended Peter Burnett, the first Governor of California, who described Fung in his memoir as ’a cultivated man, well read in the history of the world, spoke four or five different languages fluently including English, and was a most agreeable gentleman, of easy and pleasing manners’.”

As such, Fung Tang must be considered as a logical client for the photography provided by Kai Suck’s studio. A professional portrait would have conferred respectability in the eyes of the non-Chinese businessmen and politicians with whom he interacted. Moreover, the photo would have elevated his standing from the mass of laborers in the Chinese community and, ultimately, in the eyes of Immigration Bureau officials with whom he would have undoubtedly dealt during his transpacific travels after the passage of the Chinese Exclusion Act in 1882.

For more details about Fung’s business exploits and his public service (including his election to the Tung Wah clinic, the original organization of the future Chinese Hospital), readers are encourage to read York Lo’s piece here: https://industrialhistoryhk.org/fung-tang-the-firm-the-family-the-transpacific-metals-trade-and-tin-refinery/?fbclid=IwAR3DU6pEcaEw6w2uH1OZvFBFL8vg-Rl4keBS-VkbcttFuHKlx973g3ZjcY8

Ann Ting Gock

Against this background comes an announcement by Stanford Libraries that the university has acquired two images of “Ah Gum” and “Ah Gum’s cousin” by photographer Ann Ting Gock. Little appears to have been written about Gock and his 842 Clay Street studio, aside from a feature article in The Morning Call newspaper (which is replicated below). By 1900, and according to the telephone directory, Gock had moved his photography studio to 721 Dupont (a few doors north of the Hang Far Low restaurant).

According to the dealer, Scott Brown, from whom Stanford acquired the images, the albumen prints were mounted as cabinet cards with his stamps on the verso (back), and they bear handwritten captions in ink by “an unidentified Christian visitor to Chinatown.”

“Ah Gum & Child” -- December 6, 1893. Photograph by Ann Ting Gock (from the collection of the Stanford Libraries).

As Brown describes, “[t]his image shows a young Chinese woman wearing a dark silk tunic and trousers. Between her knees stands a nicely dressed, three or four year-old girl dressed in typical Chinese attire.”

The caption on the verso of the “Ah Gum & Child” image reads “Mrs. Hull, Chinese Mission teacher M. E. Home, took me to call at two Chinese homes (or rooms) & this is the picture of the mother & child of one. San Francisco, Dec. 6-93." The author of this note is not identified.

The ‘Mrs. Hull” to which the caption refers was Ida Hull, a thirty-five-year-old widow who taught at the Methodist Episcopal Church's Chinese Mission in San Francisco, beginning in 1891. Hull spent most of her life in close association with Methodist women’s work in Chinatown. Her first task as a teacher was to start an “infant school” (kindergarten), which grew rapidly, and she was also in charge of home visitations. In the latter role she quickly became a Methodist leader in the rescue of abused women and girls – and famous for kicking down doors. For example, in an 1897 Call article, Ida Hull is the first missionary the author seeks out as she reports on “the bravest women in the world.” Hull is quoted in the article as saying, “‘I don’t use much tact—tact isn’t useful among the Chinese. A hatchet is more effective. . . . Oh, I only use it to break down doors with,’ she laughed, ‘not on their heads, although sometimes if I were a man I should like to.’”

According to Brown, “Ah Gum, the name of the sitter for this portrait, is a common transliteration of names for both Chinese men and women of the era. However, she may be the Ah Gum referred to in the Report of the Chinese Mission to the California Conference of the Methodist Episcopal Church (San Francisco: Cubery and Co., 1890): ‘Five Christian girls married during the year, including Ah Gum, who was for many years the ward of Grace Church Sunday School.’"

“Ah Gum's Cousin” -- December 6, 1893. Photograph by Ann Ting Gock (from the collection of the Stanford Libraries).

“The images nominally conform to standard American studio portraiture of the late 19th century, but with distinctive Chinese elements,” Brown observes. “Here we have the patterned carpet, the Chinese table and chair, a vase with foliage, and even the spittoon, here a white urn at the feet of the sitter.”

Aside from the photographer's stamp (in the form of his red-inked chop) on the back of the mount, two other stamps were affixed to the verson, i.e., the business name of “ANN TING GOCK / 842 Clay Street / San Francisco, Cal.,” and a template for a negative No. ___ and the short tag-line: “Copies of this picture can be had at any time at reduced rates.”

The name of Ah Gum’s cousin remains unknown to this day, but the handwritten caption on the verso of the mount imparts vital information for that era of Exclusion, i.e., “born in America.”

Students of US constitutional law will recall that the US Supreme Court’s landmark decision in United States v. Wong Kim Ark, 169 U.S. 649 (1898) would not be decided for another five years. In the second decade of an even more punitive Exclusion Act, the issue of whether “a child born in the United States, of parents of Chinese descent, who, at the time of his birth, are subjects of the Emperor of China, but have a permanent domicil [sic] and residence in the United States, and are there carrying on business, and are not employed in any diplomatic or official capacity under the Emperor of China,” remained in doubt.

Thus, “Ah Gum’s Cousin” would not have known for another several years whether he had automatically become a U.S. citizen at his birth. Nevertheless, Ah Gum believed it important enough for her youngish-appearing cousin to sit for his portrait in support of his claim and whatever rights – aspirational or otherwise – that flowed from the fact of his American birth.

As for the Ann Ting Gock, few examples of his work, and that of other 19th century Chinese American photographers, survive.

Fortunately for the community’s historians, The Morning Call newspaper published a substantial feature story about its reporters’ visit to Gock’s studio in March of 1893 (“With Asian Lens: Sitting for a Mongolian Photographer”), which I have transcribed as follows:

THE MORNING CALL, SAN FRANCISCO, TUESDAY, MARCH 14, 1893

WITH ASIAN LENS. Sitting for a Mongolian Photographer. ANN TING GOCK'S CAMERA. A Quaint Little Gallery in an Out-of-the-Way Corner on Clay Street.

“Allee same like Chinawoman; allee same like Japan one dollar half; full length.”

It was Ann Ting Gock, explaining to two CALL reporters the poses and prices contingent upon being exposed before the sensitive plate of an Asian camera.

A Chinese photographer forsooth is Ann Ting Gock, a bright intelligent Asiatic, and a rate-cutter on all the galleries in the city.

To reach his den you go up a little winding stairway that leads off Clay street, near Stockton, until you reach a little landing-place.

If you look straight ahead you will probably find Ann Ting Gock at the top of the next flight nursing a cute little yellow baby all done up In gorgeous red and yellow and green rags. And Mrs. Ann Ting Gock may also be on the top landing with another and younger infant, Ann, as she was when THE CALL representatives visited the place the other day.

Ann Ting Gock will motion you to go into the tiny room to the left of the first lauding and say, “I be right down."

He speaks very good English for a Celestial, and will tell you that he has been in this State for twenty years. He wears a royal Nile green robe, has beautiful long and clean finger nails and treats his patrons with an Imperial condescension and genuine politenees. [sic]

This is the main office and showroom. There is a showcase in it and the proprietor's bed. The bed is open, the blankets and sheets turned back. It looks rather out of place in a photographer's reception parlor, but it also looks clean and inviting— that is if one cares to sleep on that kind of bed. Two gray blankets over hard, smooth boards. That is the softness thereof.

There is an old faded carpet on the floor, and it might be swept cleaner. In the showcase are various card photographs, panels, cabinets, and all sizes of Chinese men and women.

Back of the showroom and communicating with It by a narrow door is the family kitchen and washroom, all in one and all of It not more than 8 feet square.

Well, THE CALL reporters, one of whom was a young lady, decided that the Japanese costume was best suited to her peculiar style of beauty.

Then Ann Ting Gock led the way across the landing to the operating-room. This is not a large apartment, but long enough for focusing with a Chinese camera. A skylight admits ample white light, and the dressing-room to the left, though little bigger than a good-sized packing-box, is larger than Chinese ladies usually enjoy when at home.

Much Chinese furniture, imitation of ebony chairs and tables, tea cups, Chinese gowns and swords and armor and bric-a-brac of all sorts are in rather promiscuous profusion in the operating-room.

“Some men like to be soldiers, some rich merchants, some actors, and some all kinds,” explained Ann, which meant that his Oriental patrons have a fondness for appearing in their photographs tike any-thing but what they are; a fondness by the way. that in some very rare cases has been known to extend to the more enlightened Caucasian race.

When THE CALL’s lady reporter had emerged from the dressing-room, gorgeous in a fur-trimmed, many-hued Japanese gown, the courteous Ann robbed his bonds admiringly and predicted a “velly” good picture.

Now the lens In Ann's camera is not quite up to the modern makes found In the more fashionable galleries, but it prints the image on the sensitive plate as large and as life-like as the best of them.

THE CALL man was permitted to peep through the ground glass in the back of the camera after the proper focusing had been done.

Then he beheld, what everybody who focuses a camera beholds, the subject standing on her bead, with her skirts, however, clinging decorously to her heels.

A passing word ought to be said of Ann’s rather antiquated camera, it is an odd-looking piece of furniture, judged by the modern makes, and as Ann says came all the way from China. It rests on three heavy legs, and is raised or lowered by putting in or pulling out wooden pegs in a long stick attached to the bottom of the camera.

Ann Ting Gock is his own operator, he differs from the white artists in his line by leaving the question of the pose or attitude entirely to the victim’s lack of judgment or good taste, as the case may be.

There are no torturesome posing-irons or headrests in Ann’s operating-room, and the time of exposure, with bright sun outside, is not quite a second.

When the exposure was duly made Ann hastened into his 2x2 dark room, and the negative was duly developed.

He came out in a few moments with the glass negative in hand and exhibited it to his patrons.

The figure was a little dim and the lines seemed to lack sharpness, but two days later, when the print was made, quite a presentable likeness was shown.

The negative lead been duly retouched, though not perhaps with the most artistic skill in the world, and the flesh was soft mid smooth, if a trifle hazy.

It was worth the money paid, at any rate, besides it is not every day that one poses before an Asiatic artist on this side of the water.

LUKE NORTH.

“The Fan Game,” photograph by Ann Ting Gock (from the collection of the California Historical Society). The scene of three players hovering over the dealer’s table raises the question whether the photograph was a candid shot or posed in Gock’s studio.

Lai Yong

Born in China in 1840. Lai Yong has the distinction of being the earliest known Chinese artist who was active in California. He maintained a gallery in San Francisco on Dupont Street (now Grant Avenue) from 1867-75. His painting of Adolph Sutro in the California Historical Society is the only one extant. Exh: Mechanics' Inst. (SF), 1869. [Source: Edan Hughes, "Artists in California, 1786-1940"]

Lai Yong advertised in the 1868 Langley directory as a “(Chinese) portrait painter” located at 659 Clay Street. The same directory in 1881 disclosed that Lai Yong’s “photograph gallery” still operated at 743 Washington St.

Lai Yong’s studio portraits of Chinese gentlemen “evidence similar accessories and attitudes seen in those from the Kai Suck studio,” according to Asian American Art: A History, 1850-1970.

Two Young Performers In Costume, c. 1872. Photograph by Lai Yong (from the collection of the California Historical Society.

For the California Historical Society’s summer 2022 exhibition, “Chinese Pioneers: Power and Politics in Exclusion Era Photographs,” Ekalan Hou wrote about Lai Yong’s photograph as follows:

In Lai Yong’s . . . carte de visite of Cantonese opera performers at his San Francisco studio, a mou daan (female warrior) sits beside a siu sang (young scholar) and wraps her left arm around his shoulder. While the siu sang’s outspread legs recall Chinese ancestor portraits—a genre of painting that Western photographers working in China appropriated to emphasize the exoticism of their subjects—the actors’ eye contact and physical proximity stage an alternative to the stiff impersonality of ethnographic types. The fabric draping from the siu sang’s waist gives the impression that the mou daan has crossed her left leg over his right—an optical illusion that deepens their intimacy. In 1882, the year the Chinese Exclusion Act was passed, Lai moved back to Guangzhou and opened a photo studio that offered portraits of Chinese people in “American costumes.” He used clothing as a means of imagining a fluid, transpacific citizenship.

[updated 2022-5-15]

#Ann Ting Gock #Ida Hull #Fung Tang #Shew's Pioneer Gallery #Lai Yong #Kai Suck

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powerthaiamulet · 4 years

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365days365movies · 3 years

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January 11, 2021: Come Drink with Me (1966)

Wuxia.

Wuxia in an of itself is a form of fiction, highlighting martial arts. You always know a wuxia film when you see it. Like your more traditional kung fu/martial arts film, it usually focuses on one or a few protagonists facing enemies using the martial arts skills. However, wuxia is...different.

First of all, most wuxia take place in ancient China, or during periods of high conflict. Second of all, wuxia heroes are usually independent agents, not working for anyone in particular, but still with a personal code of honor. And thirdly, at least when talking about film...it’s kind of hard to explain. It’s more of a visual thing. See, look:

And yeah, I put Kung Fu Panda 2 in there, SUE ME IT’SWUXIAINSPIRED!!!!

Ahem.

To be fair, wuxia’s been a little Flanderized over the years, with the slow-motion, bold color palettes, and non-existent physics eventually taking over as genre-staples. If you’d like some proof of that, have no fear. That’s the point of today’s movie, King Hu’s 1966 classic Come Drink with Me.

Fun fact, by the way, if you search “wuxia” in the Tumblr gifs engine, this is the first one that comes up! Fitting, since this is considered one of the greatest Hong Kong movies of all time, was nominated for a Foreign Language Film Oscar. Additionally, it’s often considered the seminal wuxia film by many. Which is why I’m watching it! And yeah, there are other wuxia films on my list this month, but I really wanted to see this one first.

OK, let’s do it! SPOILERS AHEAD!!!

Recap

Two prisoners are being escorted through a field by a large party of soldiers, when a man, Jade-Faced Tiger (Chan Hung-lit), blocks the path. He gives a letter to the warden in charge, and the soldiers attack the man in white and his cohorts. They quickly lose, and a battle ensues. And for a movie in the ‘60s, it’s surprisingly brutal and bloody. The group of bandits kidnaps the warden, Master Chang.

They torture the warden to discover where their leader’ll be taken. Chang is the governor’s son, making him a valuable hostage to exchange for their leader. They have nothing to fear...except for Golden Swallow, whomever that is.

We cut to a village, where a young woman is seated at a table in an inn. She works for the Governor, and is seeking information on Chang. She speaks with one of the bandit leaders, and reveals that Chang is her brother. It also turns out that this is Golden Swallow (Cheng Pei-pei), and the bandits decide that it’s time to kill her.

And it is at this point, where the English dub REALLY got to me. It’s uh...it’s bad, you guys. IT IS SO BAD. And, yeah, it’s probably because I’m not used to dubs, but I needed the subbed version SO MUCH. So, I searched far and wide, and finally found the subbed version in Mandarin. Man, it is SO much better, Jesus.

Oof. Anyway, even the bad dub can’t distract me from the coolness of this scene, as Golden Swallow takes on this bar of bandits, led by Smiling Tiger (Lee Wan-chung). After defeating them handily in an cool fight, Smiling Tiger leaves, stating that they will kill the hostage in 5 days if their leader isn’t returned.

Meanwhile, the bandits are staying at a Shaolin temple, where they KILL A CHILD. No joke, a kid dies in this scene, and the bandits laugh about it.

Meanwhile, a drunk beggar from earlier barges into Golden Swallow’s quarters as she retires for the night, asking to stay with her. I should mention, by the way, that she’s been referred to by male pronouns for the entire movie at this point, even though she’s clearly female. I’m assuming that’s an honorific thing that I’m unfamiliar with, but I figured I’d mention it. MOVING ON.

She chases the beggar away in a neat little chase sequence, then goes back to her quarters. Turns out that the beggar interrupting her was a good thing, as she was about to be ambushed in her sleep, and she takes on her would-be attackers. Morning comes, and the Beggar’s singing to the patrons of the inn about his lifestyle.

Golden Swallow attempts to thank the beggar, who introduces himself as Drunken Cat (Yueh Hua). He mostly ignores her thanks, then asks for money in exchange for another song. He sings another song, in which he sings...about the bandits. Sending a message directly to Swallow. Realizing Cat’s usefulness, Swallow tries to confide in him and ask for help. However, the Cat doesn’t even seem truly aware of his own usefulness, and brushes Swallow off. However, in one last song, he sings about a Chinese character, which means temple. Yeah. He tells Swallow the location of the bandits THROUGH THE SONG. That’s pretty goddamn cool.

youtube

Which is why it’s AMAZING that the English dub I was originally listening to DOESN’T TRANSLATE OR DUB THE SONGS. DO. NOT. WATCH. THE ENGLISH DUB. I CANNOT stress this enough.

Swallow makes her way to the temple, and...is referred to as a woman by the bandits when they confront her. Wait...It’s not an honorific thing? Do the Beggar and Bandits think that Golden Swallow is actually a man? DESPITE ALL EVIDENCE TO THE CONTRARY? Huh. Sexism in action, I guess.

Anyway, the bandits all gather together in the temple to fight her, and it’s awesome. She goes up against Jade-Faced Tiger directly, as well as a few more, yeah, GODDAMN is it cool.

Should be noted, by the way, that this is before a lot of widespread wire-work and some of the more sensational wuxia trends that you see in more modern films. Still, this is pretty great, and actually...this is what I wanted from live-action Mulan. Real talk. If we got more like this movie in last year’s travesty, I’d be all in for it.

One-on-one against Jade-faced Tiger in the courtyard of the temple! Blood’s shed, hair is cut, and Cat returns as a mysterious benefactor for Swallow, tossing a sword back to her and throwing off the archers. But at the end, Jade hits her with a poisoned dart as she escapes.

She doesn’t make it far, and faints in the forest When she comes to, she’s in the care of Drunken Cat. She blames him for setting a trap, but he blames her for rushing in too early, eager to show off her prowess. There’s more to Cat than meets the eye, it would seem.

Still not doing great, Swallow remains in the care of Cat, who eventually reveals that he’s a master of kung fu, not just a random singing drunk. He easily and immediately takes down some intruders, LIKE THAT.

Cat disguises himself as a drunk beggar, and delivers the bodies to the temple, claiming that Swallow herself took them down. But this ruse fails when Abbot Liao Kung (Yeung Chi-hung) from Cat’s temple appears, confirming that he’s the kung fu master that killed these men. He also reveals that his true name is Fan Da-Pei, the Drunken Hero. He stole the bamboo pole of the original leader of his temple, and is considered a traitor by the abbot.

As they go to kill Cat (yeah, still calling him Cat), he’s already escaped his guard. We see him back at the temple, where he does this:

He’s an Earthbender.

After doing more cool kung fu tricks (MOOOOORE), he reveals that the Abbot is evil, and that he killed their old teacher for the bamboo staff that Cat stole. Additionally, he’s much stronger than him, AND once did Cat a huge favor. This makes Cat feel both inferior and indebted to him, complicating things.

Despite this, Cat agrees to help negotiate for Chang’s release, in exchange for the release of their leader. He also encounters the Abbot, and the two set up a time for them to settle their score.

Prisoner exchange time! Ah, but it’s rigged in the Governor’s favor, as Cat betrays the bandits to keep their leader imprisoned, while getting Chang back. Which, obviously, the bandits are pissed about. They ambush Swallow and the governor’s procession by firing arrows and CRUSHING THEM WITH ROCKS.

Also, just want to note that the guard around the bandit leader is primarily female. Alongside the female protagonist, I’m surprised that Tumblr’s slept so hard on this movie! Seriously, the women kick ass here.

Golden Swallow outdoes them all, though, and absolutely wrecks the Tigers and the rest of the head bandits. Just as he’s about to finish Jade-Faced Tiger, the Abbot heads her off, and is...stab-proof? Kung fu, man. He outclasses her, but our man Cat shows up in the nick of time!

Surprisingly, though, the Abbot’s defeated pretty quickly. Cat spared his life, then returns to his home. BUT THE ABBOT WAS FAKING! He comes back for revenge, and the two have a quick airbending sesh.

They destroy Cat’s home in the woods (which was very cute, by the way), and after a much longer and bloodier fight, Cat kills the Abbot. And man, lemme tell you, that’s a fight to watch too.

Golden Swallow leaves with her female warriors, and Cat and his kids watch them ride off.

And that’s Come Drink With Me! Awesome. Definitely more understated than many of the movies I’ve seen this month, but also a great classic film! We gotta bring more attention to this one, Tumblr. If was HAAAAAAARD to find GIFs for this one. Thanks, @martialartsactionclub, you bodied this one.

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nemesisbinxartifactseries · 5 years

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Artifact Series C

C. Everett Koop's Scalpel

C. Henry Kempe's Teddy Bear

C.D. Atkins' Orange Juice Jug

C. H. Bennett's Ball of String

C. L. Blood's Bellows

C. S. Lewis' Wardrobe

C. S. Lewis' Writing Pen

C.S.A.: Confederate States of America Film Poster

Cab Calloway’s Zoot Suit

Cabbage Patch Monkey Doll

Cable from the Warsaw Radio Mast

Cai Lun’s Paper

Cain's Stone

Calaveras Skull

Calico Jack's Belt

Calico Jack's Flintlock Pistol

California Gold Rush Mining Pan

Caligula's Battle Armor

Caligula's Sandals *

Calvin Coolidge's Kerosene Lamp

Calvin Graham’s Sailor Suit

Calypso's Conch

Camera from the Ed Sullivan Show

Cameron Todd Willingham's Lighter

Camille Flammarion's Flammarion Engraving

Candles from Jeanne Calment's 100th Birthday Cake

Candle from the Conspirators Camp

Cangjie’s Oracle Bone Script

Canister of Greek Fire

Canister of Inconsolability *

Cannon from the Battle of Narva

Cao Cao’s Beard Brush

Captain Adrian Snow's Gauntlet

Captain Edward John Smith's Hat

Captain Gallagher’s Sword Hilt

Captain Hendrick Goosen's Trawling Net

Captain Joseph White’s Mattress

Caracalla's Bathing Amphora

Caravaggio’s Nativity with St. Francis and St. Lawrence

Caravaggio's The Lute Player *

Carbondale Oppressing Iron *

Cardea's Hinge

Cardinal Richelieu's Table Knife

Caretaker Ribbon *

Carey Loftin's Gloves *

Carl Barks' Animation Cels

Carl Hagenbeck's Circus Wagon

Carl G. Fisher’s Acetylene Headlight

Carl Gustav Hempel's Apple

Carl Jung's Cuckoo Clock

Carl Jung’s Sofa Cushion

Carl Laemmle's Nickelodeon

Carl Linnaeus' Cravat

Carl Linnaeus' Herbarium

Carl Magee’s Parking Meter

Carl McCunn's Driver License

Carl Ray's Paint Brushes

Carl Sagan's Jacket

Carlo Collodi's Bracelet *

Carlo Pellegrini’s Spats

Carlos Arredondo's Hat

Carlos Hathcock's Feather

Carlos Marcello's Favorite Table

Carmen Miranda's Maracas

Carmine Galante’s Cigar

Carnation Flowers from the Carnation Revolution

Carrie Nation’s Hatchet

Carrie White's Prom Dress

Carry-on Bag

Casey Jones' Pocketwatch

Casey Martin's Golf Club

Casey Martin’s Golf Tee

Casimir Pulaski's and Michael Kovats de Fabriczy's Hessian Cavalry Swords

Casimir Zeglen’s Bulletproof Vest

Cask of Amontillado

Caspar Wistar’s Shutters

Cassandra "Elvira" Peterson's '58 Ford Thunderbird

Cassie Chadwick's Pearl Necklace

Cassius Dio's Silver Coins

Castle Crasher Knight's Weapons

Catequil's Clubs

Caterina Sforza's Spine

Catherine de' Medici's Corset

Catherine of Aragon's Wedding Ring

Catherine O'Leary's Cow Bell *

Catherine the Great's Scarf

Catherine the Great's Slippers

Catherine the Great's Washing Board *

"Cats" Vinyl Record

Cattle Skull

Caucasian Eagle Automaton

Caught-in-the-Throat "Laff!" Sign *

Cauldron of Annwn

Cauldron of Rebirth

Cave of the Piasa Bird

Cecil B. DeMille's Riding Crop *

Cecília Meireles' Rose Pen

Cellphone from the Set of Dollhouse

Celtic Red Deer Hide

Ceramic Black Buffalo

Ceramic Figurine Collection

Cernunnos' Torc

Cesar Chavez's Hoe

Cesar Chavez's Trellis

Cesira Ferrani's Atomizer

Chain from St. Mary of Bethlehem Asylum

Chains Used to Topple Saddam Hussein's Statue in Firdos Square

Chair from the Norrmalmstorg Bank Robbery

Chalice of Dionysus

Chalkboard Erasers from the Tanganyika Laughter Epidemic

Champagne Glasses From the SS United States

Chandelier from the Montansier Opera House *

Chandre Oram's Flag

Chang and Eng Bunker's Wedding Rings

Chang Apana's Detective Badge

Charlemagne's Crown

Charlemagne's Stirrup

Charles II of Navarre’s Bandages

Charles II's Croquet Balls *

Charles II's Executioner Axe

Charles VI’s Pillow

Charles Addams' Harpsichord

Charles Algernon Parsons' Gramophone Horn

Charles Angibaud’s Mortar

Charles Babbage's Gears

Charles Babbage's Difference Engine

Charles Baudelaire's Second Volume of Les Fleurs du mal

Charles B. Franklin’s Camshaft

Charles Bell's Rolls of Canvas

Charles Blondin's Tightrope

Charles Blondin's Unitard

Charles the Bold’s Livery Collar

Charles Bourseul’s Telephone

Charles Bowles' Flour Sack

Charles Calvert's Tobacco

Charles Carpenter’s Bazookas

Charles Correll's Amos 'n' Andy Taxi

Charles Coughlin's Collar

Charles Cretors’ Popcorn Cart

Charles Cullen's Scrubs

Charles Darwin’s Magnifying Glass

Charles Darwin's Spyglass

Charles Davenport's Syringe

Charles Dickens' Badminton Racket *

Charles Dickens’ Desk

Charles Dickens' Scotch

Charles Dodgson's Rosary

Charles Douglass’ Laff Box

Charles Édouard Guillaume's Balance Wheel

Charles F. Urschel’s Blindfold

Charles Fort’s Newspaper Clippings

Charles Fort's Umbrella

Charles Francis Hall's Coffee Cup

Charles Goodyear's Synthetic Rubber

Charles Hanson's Rocking Horse *

Charles J. Guiteau’s Revolver

Charles Jeffries' Skeleton Army Cap

Charles Kingsford Smith's Airplane's Undercarriage Leg and Wheel

Charles Knight's Hail Cannon

Charles Lindbergh Jr.’s Baby Rattle

Charles Lyell's Tool Belt

Charles M. Schulz's Pumpkin

Charles Macintosh's Socks

Charles Manson's Metal Guitar Pick

Charles Manson's VW Bus

Charles Martel's Stirrup

Charles Minthorn Murphy’s Bicycle Rollers

Charles Osborne's Water Cup

Charles Page's Cross

Charles Peace's Gold Pocketwatch

Charles Pearson's Tin-Can Telephone

Charles Perrault's Seven-League Boots

Charles Portal's RAF Pin

Charles Ponzi's Money Clip *

Charles Richter and Beno Gutenberg's Paper Roll and Pen

Charles Richter's Fountain Pen and Cap

Charles Simic's Fork

Charles Wells’ Roulette Wheel

Charles Whitman's Sniper Rifle

Charley Parkhurst's Whip

Charlie Chaplin's Bowler Hat

Charlie Chaplin's Cane

Charlotte Corday's Hairbrush

Charlotte Perkins Gilman's Wallpaper

Charlton Heston's Rifle

Charles Whitman's Sniper Rifle

Charred Crane from Greene County Oil Well Fire

Château de Madrid Majolica

Che Guevara's Beret

Chen Si's Motorbike

Chernobyl Three's Lab Coats

Cherry Hill Murder Artifacts

The Chest of Chirizu-kakai-o

Chester Moore Hall's Achromatic Lens *

Chesty Puller's Bullet Shells

Chesty Puller's Five Navy Crosses

Chicago May's Lipstick

Chicago Wheel

Chief Tecumseh's Robes

Chimariko Tribe Shaman Drum

Chi Medallion

Chicago City Key Chain

Chinese Baoding Balls

Chinese Chopsticks

Chinese Doubling Pot

Chinese New Year Good Luck Knot

Chinese New Year Red Envelope

Chinese Orchid *

The Chinese Sandalwood

Ching Ling Foo’s Bowl

Ching Shih's Katana

Chiune Sugihara's Visa Stamp

Choe Bu's Diary

Choe Museon’s Hwacha

Chris Gardner's Parking Tickets

Chris Hadfield's Acoustic Guitar

Christchurch City Cathedral Spire

Christiaan Barnard's Scalpel

Christiaan Huygens' Pendulum

Christiaan Huygens' Prism

Christian Doppler's Tie

Christian Mortensen's Thread and Needle

Christina the Astonishing's Thurible

Christine Chubbuck's Pearl Necklace

Christine Skubish's Toy Blocks

Christmas Lights from the Rockefeller Tree

Christmas Pyramid

Christmas Truce Submarine Ornament *

Christopher Columbus' Brooch *

Christopher Lee's Bowtie

Christopher Lee's Copy of The Lord of the Rings

Christopher Müller’s Gold Tooth

Christopher Reeve's Superman Cape

Christopher Robin Milne's Sketchpad

Chōchin-obake

Choe Bu's Diary

Chōjun Miyagi's Gi Belt

Chowchilla Kidnapping School Bus

Chromatic Bermuda Kite

Chrysippus' Wine Bottle

Chuck Jones' Glasses

Chucky Doll

Chuck Yeager's Favourite Record *

Chuck Yeager's Flight Helmet

Chun-Kwai Seducing Vase *

Chung Ling Soo's Plate

Chunk of the Chelyabinsk Meteor

Church of St. Pancras' Altar Cross

Chyren's Rapier

Cinderella's Carriage

Cinderella's Glass Knife *

Cine-Kodak 8 Model 25 Camera

Cintamani Stone

Circe's Wand

Cirque du Soleil Leotard

Civil War Snare Drums

Clap-board from Thriller

Clara Barton's Gloves *

Clarence Birdseye's Food Freezer

Clarence Birdseye's Heat Pump

Clarence Saunders’ Turnstile

Clark Gable's Grooming Kit *

Clark Wiley's Cage

Claude Alexander Conlin’s Crystal Ball

Claude Alexander Conlin's Thought Control Turban *

Claude Louis Berthollet's Snuff Box

Claude Shannon's Chess Board

Claus von Stauffenberg’s Plastic Explosive

Claus von Stauffenberg's Suitcase

Clay Models From Corpse Bride

Clement Moore's Pen

Clementine's Ballcap

Cleopatra's Perfume Jar

Cleopatra's Preserved Asp *

Cleve Hall's Airbrush

Clever Hans’s Horseshoes

Clint Malarchuk's Blood-Stained Jersey

Clipped Wings of Pegasus

Clock Face and Hands from the Original Big Ben

Closet Door

Clothing Folding Laundry Hamper

Clyde Barrow's B.A.R. Machine Gun

Clyde W. Tombaugh's Photographic Plates

Coclé Cat

Coconut Husks from Monty Python and the Holy Grail

Coco Chanel's Handbag

Code of Hammurabi Tablet

Cold Feet Shoes

Cold War Air Raid Siren

Cole MacGrath's Amp

Cole MacGrath's Courier Jacket

Collection of Jimmy MacDonald's Sound Effect Devices

Colonel Sanders' Suit

Colossus Computer Vacuum Tubes

The Colt used by Clement Vallandigham

Columbia Space Shuttle

Combustable Figgy Pudding

The Comfy Chair

Complete Encyclopedia Brittanica, Circa 1966 *

Confucius' Flip-Flops *

Confucius' Lantern

Congo the Chimpanzee's Paint Brushes

Connor Kenway's Tomahawk

Conrad Haas’ Nozzle

Conrad Reed's Gold Nuggets

Consoling Valentine's Day Chocolates

Constance of Penafiel's Throne

Constantine the Great's Crucifix *

Constricting Yo-Yo

Conversation-Stopping Robot

Convincing Dreidels (canon)

Constantin Stanislavski's Eyeglasses

"Cookie Thieves Beware" Cookie Jar

Cookware from the Iron Chef Set

Copper Bowls of Life and Death *

Copper Roof Panel from the Plaza Hotel

Copy of E.T. the Extra-Terrestrial from the Alamogordo Landfill

Coraline Jones' Doll

Corbels from the Church of St Mary and St David

The Cordwaining Shoebox

Cornelis Drebbel’s Micro-Telescope

Cornelis Drebbel's Oar

Corner of Moses Stone Tablet *

Corrupted Zalgo Computers

Corsican Brother's Vest *

Corn Popper

Corvo Attano's Gas Mask

Customer Service Cell Phone *

The Cottingley Fairies

Cotton Club Matchbox

Cotton Swab from the Phantom of Heilbronn

Count of St. Germain's Ring *

Cover of the Book of Kells

Covered Wagon

Craig Jackson's Watch

Craig Shergold’s Greeting Cards

Cranston's Police Blotter

Crazy Horse's Tomahawk

Creighton Abrams' Hat

Cretan Labyrinth Archway

Cristofori's Piano Keyboard

Cross Brace from the LZ 129 Hindenburg

Crown Devon Honey Pot Preserves Jar

Crown of Minos

Crown Prince Sado's Sandals

Crowns of Peter and Ines

Crying Heart Piano

Cryogenic Gas Heater

Crystal Skull

Crystalline Diamond Necklace *

Ctesibius' Water Clock

Cuchulainn's Post

The Cudgel in the Sack

Cuevas de los Cristales Selenite Sample

Cupid's Arrows

Currier & Ives Advent Calendar *

Curtis Ebbesmeyer’s Friendly Floatees Bath Toys

Cutthroat Kitchen's Hatchet

Currency Changing Wallet

Cy Young's Baseball

Cybermen Outfits

Cymbal-Banging Monkey

Cynebil of Porththorp's Jawbone and Skull

Cynthia Doll

Cyrill Demian's Accordion

Cyrus Teed's Orrery

Cyrus the Great's Achaemenian Tapestry

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maxwellyjordan · 5 years

Text

Wednesday round-up

Yesterday the court heard oral arguments in a trio of high-profile civil-rights cases involving LBGT employees: consolidated cases Bostock v. Clayton County, Georgia and Altitude Express, Inc. v. Zarda, and R.G. & G.R. Harris Funeral Homes Inc. v. Equal Employment Opportunity Commission. [Disclosure: Goldstein & Russell, P.C., whose attorneys contribute to this blog in various capacities, is counsel on an amicus brief in support of respondent Stephens in Harris.] Amy Howe analyzes the oral arguments for this blog, in a post that first appeared at Howe on the Court. Mark Walsh provides an eyewitness account of the arguments for this blog.

At Reuters, Lawrence Hurley and Andrew Chung report that the justices “appeared divided over whether a landmark decades-old federal law prohibiting sex discrimination in the workplace protects gay and transgender employees.” At The Wall Street Journal (subscription required), Jess Bravin and Brent Kendall report that “[t]he outcome will depend on whether any of the court’s five conservatives find that the concepts of sexual orientation or gender identity cannot logically be segregated from the ban on sex discrimination.” Steven Mazie suggests at The Economist’s Democracy in America blog that the result “may hinge on Justice Gorsuch, who portrayed himself as caught between a commitment to textualism and an aversion to judicial intervention in legislative matters.” At NPR, Nina Totenberg agrees that Gorsuch was “the focal point” of the arguments. Joan Biskupic reports at CNN that “[t]he tenor of the justices’ questions — preoccupied at times with shared bathrooms and showers — suggested a break with the steady pattern of advancing gay rights.” Additional coverage comes from Robert Barnes and Ann Marimow for The Washington Post (subscription required), Adam Liptak and Jeremy Peters for The New York Times (subscription required), and Shannon Bream and Bill Mears at Fox News, who report that “[o]utside the court, plaintiffs from both sides urged Congress to intervene.”

At Take Care, Leah Litman contrasts Justice Neil Gorsuch’s questions in the two cases with the interpretive principles articulated in the justice’s recent book. Additional reactions to the oral argument come from Omar Gonzales-Pagan and Greg Nevins at Lambda Legal and Lisa Keen at Keen News Service. In an op-ed for The Hill, Kara Dansky argues that “[t]he word ‘sex’ does not equate to some vague, ill-defined concept of ‘gender identity.’” Additional commentary comes from Stephanie Taub in an op-ed at the Washington Examiner, Gregory Nevins in an op-ed at Bloomberg Law, and Maureen Collins at The Christian Post.

In an ACS issue brief, Joel Dodge argues that June Medical Services v. Gee, which asks whether a decision upholding Louisiana’s law requiring physicians who perform abortions to have admitting privileges at a local hospital conflicts with the Supreme Court’s 2016 ruling in Whole Woman’s Health v. Hellerstedt, gives the justices a chance “to demonstrate that long-standing precedent still matters before today’s Court – and that the real lives of real women still matter under the law.” At The Atlantic, Leah Litman writes that “[t]he briefing in the [June Medical] provides a glimpse into how a ruling for Louisiana could allow states to end legal abortion without overruling Roe—and also allow the Court to test the waters on whether to ultimately overturn Roe.”

Briefly:

At E&E News, Niina Farah reports that “[t]he Supreme Court’s decision [on Monday] to reject a challenge to the Mountain Valley natural gas project could signal the end of the road for disputes over an unusual quirk in pipeline eminent domain procedures — at least for now.”

In a separate post, Farah reports that “[p]arties on either side of a newly picked Supreme Court case on the Atlantic Coast pipeline,” U.S. Forest Service v. Cowpasture River Preservation Association, “see starkly different consequences [from the justices’] weighing in on the legal conflict.”

In an op-ed for Newsweek, Isa Farrington Nichols, whose niece was murdered by convicted D.C. sniper Lee Boyd Malvo, weighs in on Mathena v. Malvo, arguing that “Malvo should be resentenced—not released, but given the chance to make a case for a sentence that would allow him, at some point during his life, to demonstrate whether he has changed.”

We rely on our readers to send us links for our round-up. If you have or know of a recent (published in the last two or three days) article, post, podcast or op-ed relating to the Supreme Court that you’d like us to consider for inclusion in the round-up, please send it to roundup [at] scotusblog.com. Thank you!

The post Wednesday round-up appeared first on SCOTUSblog.

from Law https://www.scotusblog.com/2019/10/wednesday-round-up-495/ via http://www.rssmix.com/

#law #justice

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i-dangerousmakercollection-blog · 5 years

Text

Bi kịch của nữ tỷ phú giàu nhất Hong Kong: Gặp trực tiếp tướng cướp để chuộc con trai cả nhưng buộc phải "phế truất" để cứu cả gia tộc

New Post has been published on https://giammobungsieunhanh.com/tham-my-vien-us-international-bi-kich-cua-nu-ty-phu-giau-nhat-hong-kong-gap-truc-tiep-tuong-cuop-de-chuoc-con-trai-ca-nhung-buoc-phai-phe-truat-de-cuu-ca-gia-toc.tham-my-vien-koreans

Bi kịch của nữ tỷ phú giàu nhất Hong Kong: Gặp trực tiếp tướng cướp để chuộc con trai cả nhưng buộc phải "phế truất" để cứu cả gia tộc

Theo số liệu thống kê của Wealth-X, New York có 103 tỷ phú. Đây là thành phố có nhiều tỷ phú nhất trong Top 10 do tổ chức này công bố. Tuy nhiên Hong Kong lại là thành phố có tốc độ tăng trưởng tỷ phú nhanh nhất. Năm 2018, thành phố này có thêm 21 tỷ phú mới với tốc độ tăng trường 29%.

CafeBiz xin trân trọng giới thiệu series bài viết về “Những doanh nhân Hong Kong nổi bật”. Phần lớn những tỷ phú Hong Kong là tỷ phú tự thân trong đủ các lĩnh vực từ Bất động sản, Casino, Vận tải cho đến cả nước sốt.

Đời tư kín tiếng của nữ tỷ phú giàu nhất Hong Kong

Bà Kwong Siu-hing sinh năm 1929 tại tỉnh Quảng Đông, Trung Quốc. Bà là vợ của ông Kwok Tak-seng, người đồng sáng lập công ty phát triển bất động sản hàng đầu của Hong Kong.

Ông Kwok sinh năm 1911 tại Macau và chuyển tới Hong Kong sau Thế chiến II. Năm 1952, ông thành lập một công ty bán buôn hàng nhập khẩu và sau vài năm, việc kinh doanh đã phát triển nhanh chóng.

Đến những năm 1960, ông đầu tư vào ngành bất động sản, đồng sáng lập Sun Hung Kai cùng tỷ phú Lee Shau Kee và gặt hái được thành công vang dội khi biến tập đoàn này thành một trong những đế chế bất động sản hàng đầu Hong Kong.

Ngoài lĩnh vực bất động sản, Sun Hung Kai còn kinh doanh truyền thông, vận tải ở Hong Kong, Trung Quốc và Singapore.

Sun Hung Kai là một trong những tập đoàn bất động sản hàng đầu ở Hong Kong.

Năm 1990, ông Kwok qua đời vì bệnh tim ở tuổi 79 và vị trí lãnh đạo đã thuộc về Walter, con trai cả trong số 3 người con của ông. Từ năm 2008 đến năm 2011, bà Kwong đảm nhiệm vai trò chủ tịch của Sun Hung Kai. Hiện bà vẫn là cổ đông lớn nhất của tập đoàn với 26,58% cổ phần.

Nhà Kwok được xếp hạng thứ 3 trong các gia tộc giàu nhất châu Á năm 2017 của Forbes với khối tài sản trị giá 40,4 tỷ USD.

Theo danh sách Forbes công bố cách đây không lâu, với khối tài sản trị giá 15,3 tỷ USD, bà Kwong đang giữ vị trí thứ 5 trong số những người giàu nhất Hong Kong. Bà cũng là nữ tỷ phú duy nhất trong top 5, những cái tên còn lại là tỷ phú Li Ka Shing, Lee Shau Kee, Lee Man Tat và Joseph Lau.

Tuy nhiên, vì là một người khá kín tiếng nên thông tin về bà không có nhiều ngoài một số hoạt động từ thiện và cuộc chiến tranh giành quyền lực giữa các con trai của bà.

Ba anh em nhà Kwok.

Bà Kwong tham gia rất tích cực vào các hoạt động từ thiện. Bà là Giám đốc của T.S Kwok Foundation, một quỹ từ thiện phi lợi nhuận chủ yếu hỗ trợ giáo dục, phát triển cộng đồng và duy trì các di sản văn hóa ở Hong Kong và Trung Quốc đại lục.

Theo một số nguồn tin, bà đã trao hơn 11 triệu USD cho một số đơn vị như trường Đại học Mở Hong Kong và Liên đoàn Phụ nữ Hong Kong.

Ngoài ra, bà đã tài trợ hơn 57 triệu USD cho các trường đại học ở khắp nơi trên thế giới bao gồm Đại học Thanh Hoa, Đại học Tứ Xuyên và Đại học Cambridge.

Theo tờ South China Morning Post, trước khi được bổ nhiệm làm chủ tịch năm 2008, bà Kwong chưa từng tham gia vào hội đồng quản trị công ty.

Ngày 27/5/2008, bà thay thế con trai cả Walter đảm nhiệm vai trò tại Sun Hung Kai sau khi Walter bị hất ra khỏi ban quản trị sau 18 năm lèo lái tập đoàn bởi chính 2 người em ruột của mình.

Cuộc chiến giành quyền lực của nhà Kwok

Trước đó, khi đang nắm quyền điều hành Sun Hung Kai, chủ tịch Walter đã tuyên bố nghỉ phép và trong khi ông vắng mặt, 2 em trai sẽ tiếp quản công việc. Sau chuyến đi, ông sẽ quay lại tiếp tục đảm nhiệm vai trò này.

Thế nhưng mọi chuyện lại diễn ra ngoài dự đoán của Walter. Trong thời gian ông đi nghỉ, 2 người em Thomas và Raymond đã tố cáo Walter bị trầm cảm để thuyết phục hội đồng quản trị bãi miễn chức chủ tịch của ông. Lý do được cho là vì Walter bị ảnh hưởng sau vụ bắt cóc bởi một băng đảng xã hội đen khét tiếng.

Bà Kwong Siu-hing chính là người đã trực tiếp đi gặp tướng cướp Trương Tử Cường để thương lượng và trả 77 triệu USD tiền chuộc con trai, một trong những khoản tiền chuộc lớn nhất lịch sử Hong Kong.

Nhiều người thắc mắc tại sao bà Kwong rất thương Walter nhưng lại “chiếm” ghế chủ tịch của ông? Theo nguồn tin từ tờ The Standard, bà từng nói rằng mình “không còn lựa chọn nào khác là phải hất cẳng con trai lớn để bảo vệ lợi ích chung của gia tộc”.

Nguyên nhân sâu xa nằm ở mối quan hệ giữa Walter và người tình lâu năm, nữ luật sư Ida Tong Kam-hing. Đáng nói hơn là ông Walter vẫn qua lại với bà Ida khi chưa chấm dứt mối quan hệ với người vợ hợp pháp của mình.

Bà Ida là người mạnh mẽ, tham vọng và có kinh nghiệm trong việc giải quyết vấn đề. Dù chưa từng là nhân viên của Sun Hung Kai nhưng bà thường xuyên cố vấn việc kinh doanh cho Walter và thậm chí còn được tham gia một số cuộc họp nội bộ.

Ảnh hưởng của bà tới quyết định của ông Walter cũng như hoạt động của tập đoàn ngày càng lớn và điều đó khiến người nhà Kwok cảm thấy lo ngại. Sự can thiệp của người ngoài vào việc làm ăn của giammobungsieunhanh.com đã khiến họ không thể ngồi yên.

Đỉnh điểm của xung đột là ông Walter đã quyết định đưa bà Ida vào thành viên hội đồng quản trị bất chấp sự phản đối kịch liệt của mẹ và 2 em trai. Đây chính là giọt nước tràn ly châm ngòi cho cuộc chiến giành vị trí lãnh đạo Sun Hung Kai trong giammobungsieunhanh.com tỷ phú Kwok.

Cựu chủ tịch Sun Hung Kai – Walter Kwok.

Sau khi Walter bị hạ bệ, bà Kwong Siu-hing trở thành chủ tịch trong khi Thomas và Raymond nắm giữ chức vụ CEO của tập đoàn. Còn Walter, tuy vẫn được giữ trong hội đồng quản trị nhưng ông không có quyền bỏ phiếu.

Khi cuộc chiến tranh giành quyền lãnh đạo của 3 anh em nhà Kwok đang diễn ra căng thẳng thì năm 2014, Thomas và Raymond lại bị cáo buộc hối lộ và tham nhũng – vụ bê bối nổi tiếng nhất trong lịch sử Hong Kong.

Kết quả là Thomas bị kết án 5 năm tù còn Raymond tiếp quản vị trí chủ tịch tập đoàn Sun Hung Kai. Về phần Walter, cuối tháng 8 năm ngoái, ông phải nhập viện sau khi bị đột quỵ ở nhà và qua đời sau đó 2 tháng.

Có thể nói, sau sự ra đi của Walter và việc Thomas bị bắt giữ, sóng gió gia tộc Kwok đã phần nào lắng xuống và bà Kwong Siu-hing vẫn giữ vững vị trí của mình trong danh sách những người giàu nhất Hong Kong.

Trở lại danh sách người giàu nhưng tài sản của ông Trần Đình Long sụt giảm mạnh

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