King Ho
| King Hu | |||||||||
|---|---|---|---|---|---|---|---|---|---|
| Chinese name | 胡金銓 (traditional) | ||||||||
| Chinese name | 胡金铨 (simplified) | ||||||||
| Pinyin | Hú Jīnquán (Mandarin) | ||||||||
| Jyutping | Wu4 Gam1-cyun4 (Cantonese) | ||||||||
| Born |
29 April 1932 Beijing, China |
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| Died | 14 January 1997 (aged 64) Taipei, Taiwan |
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| Occupation | Film director, screenwriter, set designer | ||||||||
| Years active | 1956–1993 | ||||||||
| Spouse(s) | Chung Ling (鍾玲) | ||||||||
| Ancestry | Handan, Hebei, China | ||||||||
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Hu Jinquan (29 April 1932 – 14 January 1997), better known as King Hu, was a Chinese film director based in Hong Kong and Taiwan. He is best known for directing various wuxia films in the 1960s and 1970s, which brought Chinese cinema (including Hong Kong and Taiwan) to new technical and artistic heights. His films Come Drink with Me (1966), Dragon Gate Inn (1967), and A Touch of Zen (1969–1971) inaugurated a new generation of wuxia films in the late 1960s. Apart from being a film director, Hu was also a screenwriter and set designer.
Hu was born in Beijing to a well-established family originating from Handan, Hebei. His grandfather was the governor of Henan in the late Qing Dynasty. He emigrated to Hong Kong in 1949.
After moving to Hong Kong, Hu worked in a variety of occupations, such as advertising consultant, artistic designer and producer for a number of media companies, as well as a part-time English tutor. In 1958, he joined the Shaw Brothers Studio as a set decorator, actor, scriptwriter and assistant director. Under the influence of Taiwanese director Li Han-Hsiang, Hu embarked on a directorial career, helping him on the phenomenally successful The Love Eterne (1963). Hu's first film as a full-fledged director was Sons of the Good Earth (1965), a film set in the Second Sino-Japanese War, but he is better remembered for his next film, Come Drink with Me (1966). Come Drink with Me was his first success and remains a classic of the wuxia genre, catapulting the then 20-year-old starlet Cheng Pei-pei to fame. Blending Japanese samurai film traditions with Western editing techniques and Chinese aesthetic philosophy borrowed from Chinese music and operatics, Hu began the trend of a new school of wuxia films and his perpetual use of a heroine as the central protagonist.
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