Stage Door | Chicago Reader

Stage Door

Hu-Du-Men, the Cantonese title of this entertaining 1996 film from Hong Kong, is an opera term for the imaginary line separating the stage from backstage, and it becomes emblematic of the various crossovers in the story. Adapted by Raymond To Kwow-wai from his own play, it concerns the producer and star of a Cantonese opera company (Josephine Siao) who's about to abandon her career to emigrate to Australia with her husband and adopted daughter. (As in many recent Hong Kong films, anticipation of the colony's return to the mainland is a major theme here.) The adopted daughter is showing lesbian tendencies, and the heroine, a specialist in male roles, is experiencing some gender confusion of her own. Director Shu Kei is a central figure in the Hong Kong film scene, a novelist, a programmer, the country's most outspoken film critic, and a prolific screenwriter who's worked for the likes of Ann Hui, Yim Ho, and John Woo; he navigates genre and gender alike with wit and aplomb.

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