繁體中文
Born and raised in Hong Kong, Wong Yiu was a native of Dongguan, Guangdong. His paternalaunt owned a film company and cinema, the latter of which was managed by Wong’s father. Hisfamily fled to Guangzhouwan (today’s Zhanjiang) during Japanese occupation. They broughtprints of two American films along, and made their living by renting them to movie houses. Afterthe war, he was a film distributor in Guangzhou. Wong returned to Hong Kong after the People’sRepublic of China was founded and decided to work in the film industry. He was initially acontinuity in Amoy-dialect films, and later honed his skills in editing under director Lee Ying -yuen. Wong made his directorial debut with the Chaozhou-dialect film Story of the Jade Hairpin(1959) while Lee served as the film’s consultant. He also practiced screenwriting under directorMok Hong-si, and they co-directed Bloody Gloves (1961). Wong subsequently became assistantdirector under Chan Pei. Through Chan’s recommendation , Wong was in troduced to Lui Kei ,husband of Tang Bik -wan, and worked for Baobao Film Company owned by Lui. The GratefulMonkey (1963) was Wong’s first Cantonese film as a director. He continued to work with TangBik-wan, directing a string of hit comedies including To Employ a Wife (1963) and A Funny Bride(1964).In 1966, Wong directed the movie hits Movie Fans and Girls are Flowers for Chi Leun FilmCompany Limited. These films led Connie Chan Po-chu to become a teen idol and prompted thetrend of youth musicals. Wong continued to direct a large number of films featuring Chanincluding The Young Lovers (1967), Won’t You Give Me a Kiss (1968) as well as films for JosephineSiao Fong-fong including Moon and Flower (1969). Wong directed Spring Love (1968) underGolden Sail Film Co , his own film company. His 1967 film The Strange Girl was a rare gem thattouched upon human sexual desires, a rare departure from his usual comedies. When Cantonesecinema started to decline from the la te 1960s to the early 1 970s, Wong made the switch todirecting Mandarin films in 1971, helming I Am Crazy about You. He had also made a filming tripto Thailand to shoot a Thai-language film.In the late 1970s, Wong began to work fo r Shaw Brothers (Hong Kong) Ltd as a n associateproduction manager, producing such works as Invincible Enforcer (1979) and My Name Ain’tSuzie (1985) until the studio suspended film production in the mid-1980s. Iceman Cometh (1989)was Wong’s last film project for which he served as production manager. He continued to beactive during retirement and was engaged in volunteer activities. Wong passed away on 2January 2011. His son Taylor Wong is also a film director.