文化藝術人物 / Cultural figure

葉榮祖

Teddy Yip Wing-cho

1960年代末–2003年

領域:藝術家

繁體中文

葉榮祖(1945–2003),祖籍浙江寧波,係活躍於1960年代末至2000年代嘅香港電影從業者,行內暱稱「也叔」。佢係家中次子,父親葉逸芳(易方)係1930年代末起活躍於上海同香港嘅電影編劇,前妻蔣芸亦係編劇。葉榮祖喺中國大陸出生,高中畢業後(約1963年)來港,因鍾愛電影投身影圈學習攝影技術,最初喺長城電影製片有限公司及鳳凰影業公司任攝影助理,參與《雲海玉弓緣》(1966)等製作。1960年代末佢轉投邵氏兄弟,當上羅維嘅助理導演,曾攝製《龍門金劍》(1969)同《五虎屠龍》(1970),深受器重,1970年獲晉升為導演,處女作《鬼太監》(1971),緊接執導《黑店》(1972)。1971年鄒文懷創立嘉禾,佢隨羅維加盟任副導演,攝製《天龍八將》(1971),更獨自執導《刀不留人》(1971),成為當時冒起迅速嘅新導演。其後佢簽約遠東(香港)影業公司,拍下《死亡挑戰》(1974)、《唐山猛虎》(1977),另執導《賊王》(1973)及《金鎖匙》(1977);奇幻文藝片《人魚戀》(1978)則在菲律賓拍攝,由蔣芸編劇。七十年代末,佢應邀赴台灣執導《睡拳怪招》(1979)同《癲螳螂》(1980),之後暫別導演崗位,赴南美洲營商。1982年佢應羅維邀請回港,出任其影片公司經理,處理行政事務;其後經洪金寶引介加入德寶電影公司任製片經理,參與製作《雙龍出海》(1984)、《等待黎明》(1984)及《智勇三寶》(1985),亦是《奪寶計上計》(1986)的統籌。德寶租用堅成片場作製片廠後,佢獲委任廠長,並復出執導最後一部導演作品《雙龍吐珠》(1986)。九十年代佢仍活躍於幕後,先後策劃《密宗威龍》(1991)、《一刀傾城》(1993)、《冇面俾》(1995)等,又監製《五福星撞鬼》(1992),並是《洪福齊天》(1991)的出品人。幕前方面,佢喺八、九十年代客串演出眾多諧角,由《富貴逼人》(1987)、《雞同鴨講》(1988)到後期的《橫行霸盜》(2002),參演電影逾七十部。2003年佢喺上海拍戲時感染肺炎,返港醫治後於同年辭世。

English

Teddy Yip Wing-cho (1945–2003), whose ancestral home was Ningbo in Zhejiang, was a Hong Kong film worker active from the late 1960s to the 2000s and known in the trade as Uncle Yip. The second son of Yip Yutfong, a screenwriter active in Shanghai and Hong Kong from the late 1930s, and former husband of the screenwriter Chiang Yun, he was born on the mainland and came to Hong Kong after secondary school to follow his father into the business. He began at Great Wall and Feng Huang, rising from a machinery hand to camera assistant and working on productions such as The Jade Bow (1966). In the late 1960s he joined Shaw Brothers as assistant director to Lo Wei on films including The Golden Sword (1969) and Brothers Five (1970). Highly regarded, he was promoted to director in 1970; his debut was The Eunuch (1971), followed by The Black Tavern (1972). When Raymond Chow founded Golden Harvest in 1971 he moved there with Lo Wei, co-directing The Eight Dragon Generals (1971) and directing The Blade Spares None (1971). He then signed with Far East (Hong Kong) Films, making Death Duel (1974) and other action pictures, as well as directing The Conman (1973) and The Golden Key (1977); the fantasy romance Mermaid Lovers (1978) was shot in the Philippines from a Chiang Yun script. In the late 1970s he was invited to Taiwan to direct Sleeping Fist (1979) and The Thundering Mantis (1980), after which he briefly left directing for business in South America. Recalled to Hong Kong by Lo Wei in 1982 as his company manager, he was later introduced by Sammo Hung to D&B Films as production manager, working on films such as The Two Dragons (1984), Waiting for Dawn (1984) and Twinkle Twinkle Lucky Stars (1985), and coordinating The Abduction (1986). When D&B rented the Kin Shing studio lot he became its studio manager and returned to directing for his last film, Two Dragons and a Pearl (1986). In the 1990s he remained active as planner and producer on pictures including Tantric Magic (1991) and Blade of Fury (1993), and appeared in cameo comic parts in more than seventy films. In 2003 he contracted pneumonia while filming in Shanghai and died after returning to Hong Kong.

人物小檔 Profile

職業Occupation

電影導演、製片行政、演員

年期Active period

1960年代末–2003年

代表作Notable works

《鬼太監》(1971)、《刀不留人》(1971)、《黑店》(1972)

資料整理日期 / Compiled: 2026-09-12

主要成就 Key Achievements

1970

獲邵氏兄弟晉升為導演

Was promoted to director at Shaw Brothers.

1971

執導處女作《鬼太監》;同年隨羅維轉投嘉禾,執導《刀不留人》

Directed his debut The Eunuch and, moving to Golden Harvest with Lo Wei the same year, directed The Blade Spares None.

1979

應邀到台灣執導《睡拳怪招》,翌年再拍《癲螳螂》

Was invited to Taiwan to direct Sleeping Fist, followed a year later by The Thundering Mantis.

1986

任德寶電影公司製片經理及堅成片場廠長,復出執導最後作品《雙龍吐珠》

Served as D&B Films' production manager and studio manager of the Kin Shing lot, returning to direct his last film, Two Dragons and a Pearl.

影響與傳承 Impact & Legacy

繁體中文

葉榮祖橫跨邵氏、嘉禾同德寶三個年代,由副導、導演做到製片經理同片場廠長,係1970至80年代香港片廠制度中少見嘅多面手。佢晚年喺大量喜劇中演繹市井小人物,成為港產片熟悉嘅綠葉面孔。

English

Teddy Yip spanned the Shaw Brothers, Golden Harvest and D&B eras, moving from assistant director to director and then to production manager and studio manager, a rare all-rounder within the 1970s and 1980s Hong Kong studio system. In later years his comic turns as ordinary townsfolk made him a familiar supporting face in Hong Kong movies.

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