Rendezvous

Tang Bohu is smitten by the stunning beauty of Qiuxiang, the maid of Grand Tutor Hua, during his visit to a monastery in Suzhou. Stalking the maid, Tang's affections are finally reciprocated with three charming smiles. To approach the fair maid, Tang seeks work in the Grand Tutor residence as a study companion, and his talents win Hua's attention. As a frustrated suitor, he turns to his resourceful friend Zhu Zhishan for help.

An epic production directed by Li Pingqian in collaboration with eight directors from Mingxing Film Company. Butterfly Wu stars as a hostess who, after leaving Shanghai for ten years, invites her secondary schoolmates for a reunion. They each reminisce about their lives with some having difficulties in marriage or career. Some led destructive lives while others contributed to the country. The film espouses the virtue of Wu who rescued an anti-warlord revolutionary, inferring that women are deemed exemplary if their deeds benefit the country. As one of China's earlier sound movies, the film's vivid images are complemented by a deliberate use of sounds and songs exemplified by the clever juxtaposition of narration and image in two segments.

A sadder than sad story about a fun-loving optimist whose interest in comedy performance is despised by both his family and his wealthy future in-laws, Li’s tragic-comedy follows the 50-year-old father (Bao) as he maintains a dignified façade after losing his long-held accounting job in an occupied Tianjin in the 1940s.

This is a story of how Ru Ji, a farm girl of Chao Kuo, who sacrificed her own life to save her country and people in the year 257 B.C.

Not seen in Hong Kong for many years, A Strange Woman was Li Pingqian's first film at Great Wall Film Studio. Adapted from the play La Tosca by French playwright Victorien Sardou, opera star Xiao Xiangshui (Bai Guang) helps her lover, a revolutionary, to escape from warlords. She finesses with both the head of the secret service (Yan Jun) and her lover's wife, but things do not turn out as planned. Li changed his usual pace to encompass a more conventional and dramatic film plot. Bold and flirtatious in her role, Bai Guang is equally over the top in appearance as Yan Jun. The tension in winning the heroine over drives the plot more than the themes of patriotism and loyalty in love.

Li's first directorial work in Hong Kong is adapted, by himself, from the Hollywood movie The Great Lie (1941) starring Bette Davis. When a husband disappears in an accident, the wife is dismayed by a social butterfly pregnant with her husband's child. To preserve the husband's blood line, the wife takes care of the expectant mother and raises the child. Featuring the two ravishing beauties Li Lihua and Sun Jinglu, Our Husband foregoes juicy feuds between the leads and delivers an allegorical message: parents should provide an ideal environment for the next generation. Addressing the rocky times in China, it is equally overt in its remonstration as Yung Hwa's earlier works, The Soul of China and Sorrows of the Forbidden City.