Kong Yat-fan

London special agents Wong Tak-fat and Fong Lung have arrived in Hong Kong to investigate a murder in connection with a drugs trafficking ring. Fong attends a ball hosted by his girlfriend's rich father Sze Kam-wing where evidences lead him to the Black Eye Bar. Wong befriends the recently widowed bar owner Lee Mei-chen and soon becomes enlisted as member of the ring and the ring leader's trusted aide. Falling in love with Lee, Wong is told that her husband was killed for leaving the organisation. Wong is however unable to establish contact with Fong with all outside communication cut off. Anxious to hear from Wong, Fong investigates discreetly at the bar. Mistaken for a cop, Fong is captured but helped to flee by Lee. Alarmed by Fong's escape and the leak of Wong's identity, ring members are just about to execute Wong and Lee just when the police raid the drugs den and arrest the ringleader—Sze.

Reporter Yu Mong-yuen is recovering from a leg injury in his fiancee Man-wah's apartment. Bored, he looks out the rear window and observes the life of the neighbouring building. Among the tenants are a sugar-daddy and his mistress, a middle-aged man wants to marry a young girl, but she is in love with his son. Finally, she hatches a plot and makes the man agree to her marrying his son ; a sly fortune-teller ; a lively gym, a rich widow quarrels with the trainer of a gymnasium because his dog has bitten her cat ; and an opera school, a woman signs, leaning on the balcony, and a man tries to strangle her. In fact they are rehearsing an opera…… One evening, Wah is on the night shift, and Yuen watches the opera troupe rehearse to the end. Under the influence of drugs, Yu mistakenly believes that a divorced man has murdered a taxi dancer. He alerts the police, but the whole thing is nothing more than a misunderstanding.

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Chor Yuen started his directorial career with a bang. From its very first image, The Natural Son establishes Chor as a filmmaker of stylistic flourish, which would be sustained in various forms throughout his long tenure. Adapted from '30 cents' pulp fiction, it is a Kong Ngee melodrama made in the studio's mould, with Westernised characters and trendy middle-class lifestyles. Yet, Chor's first film is not exempt from the social urgency that characterises the Cantonese cinema of his father, Cheung Wood-yau. The film cloaks its entertainment in a moral deliberation on blood ties, its story about the raising of a bastard child a head-on challenge of archaic family values. An ostentatious start for a colourful and eventful career.

The Talking Bird (能言鳥) is a 1959 Hong Kong musical fantasy film directed by Bong Luk. The film was produced by Shaw Brothers and is based on the screenplay by Tin Chi Ng.

The Head of Southern Stone Village, Lee Ba-hung bullies others with his power. Yet he has no knowledge that his niece Lee Chun-hong is actually the Black Heroine who confronts him. It turns out that Chun-hong's father is fearful that Ba-hung would bully the mother and daughter of Chun-hong, hence he has disguised Chun-hong with woman attires. Chun-hong's identity is unveiled when she devotes herself to helping the refugees of a disaster by distributing food and emergency supplies. Ba-hung would like to murder Chung-hong by hanging, yet it ends in him being killed by his followers.

Precious Daughter follows the couple's story even after their marriage. With the help of her caring mother, rich girl who is mute manages to marry the man of her dreams. However, their marriage soon runs into difficulties because of her inability to please her demanding sister-in-law. While the heroine regaining her voice leads to catastrophe for the hero in the original play, the two films celebrate the return of their heroines' voices with song and dance – thanks to the popularity of musicals at the time.