Hu Du Men (Entrance of the P-Side) (1996)





Critic Consensus: No consensus yet.

Movie Info

The title phrase refers to the crossing of lines. In Cantonese opera, an actor who literally becomes his or her character, leaving all sense of the original self behind is said to have crossed the imaginary hu-du-men. This comedy drama centers on Lang Kim-sum (portrayed by one of Hong Kong's finest actresses, Josephine Siao Fong-fong), a much-loved opera star and owner of a distinguished theatrical troupe who finds herself faced with many lines to cross as she prepares to retire and move to Australia with her husband.
Comedy , Drama
Directed By:
Written By:
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Anita Yuen
as Yip Yuk-Sum
Tam Sin-hung
as Aunt Ming
Waise Lee
as Ying Mang-lung
Siu Chung-Kwan
as Liang Siu-tin
David Wu
as Lam the Director
Show More Cast

Critic Reviews for Hu Du Men (Entrance of the P-Side)

All Critics (0)

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Full Review… | February 22, 2012
Top Critic

Audience Reviews for Hu Du Men (Entrance of the P-Side)


A film by Kei Shu, who is a famous film critic and one of Hong Kong new wave directors. It describes the last days of acting career of a veteran Guangdong Opera actress, who plays a man on the stage. Hu Du Men (Hu Du Gate) is the gate that Guangdong opera actors go through to appear on stage, and they have to forget themselves and to identify totally with their roles once they go through it. The heroin is very popular stage actress with great skills, but so many things happen in her real life. By using Guangdong Opera (in which the heroin plays a man) symbolically, it captures not only an actress's but also a woman's middle age very well. Especially it is interesting how this film describes the issue of transsexuality and gender, which Kei Shu deals with again in his later work "A Queer Story" (1997). The characters, especially the heroin, are little bit too eccentric, I think, but the topic is already great. Josephine Siao, who herself is the legendary actress in Hong Kong for so long, gives an excellent performance (much better than in Ann Hui's "Summer Snow") which embodies the two-sides (a top actress who is a man on the stage/a wife and a mother who has so many family issues) of the complicated character perfectly. It is interesting that the whole mood of the film that is created bu Kei Shu is similar rather to Taiwanese films, like Edward Yang's works, than other Hong Kong films. Human Dramas by HK New Wave directors like Kei Shu and Ann Hui can be said as the other face of HK cinema.

Naoya Kugimiya
Naoya Kugimiya

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