| Brigitte Lin | ... | Tsao Wan | |
| Cherie Chung | ... | Sheung Hung | |
| Sally Yeh | ... | Pat Neil | |
| Kenneth Tsang | ... | General Tsao | |
| Ma Wu | ... | Mr. Wong | |
| Paul Chun | ... | Fa Gum-Sao | |
| Mark Cheng | ... | Ling Pak-Hoi | |
| rest of cast listed alphabetically: | |||
| Kwok Keung Cheung | ... | Tung Man | |
| Ging Man Fung | ... | General Tsao's officer | |
| Ha Huang | ... | General Tun | |
| Feng Ku | ... | Commander Liu | |
| Paul Lai | ... | General Tun's adjuntant | |
| Hoi Sang Lee | ... | Soldier with Moustache | |
| Po-Chih Leong | ... | Mr. Kam | |
| Sandra Ng Kwan Yue | ... | General Tun's wife | |
| Hang-Sang Poon | ... | Theatre doorman | |
| Dean Shek | |||
| Yin Szema | ... | Ms Choi | |
| Ching Tien | ... | Sung | |
| Kai Man Tin | ... | Cart pusher | |
| Hoi Yan Wong | ... | General Tun's wife | |
| David Wu | ... | General Tsao's interpreter | |
Directed by | |||
| Hark Tsui | |||
Writing credits(in alphabetical order) | ||
| Raymond To | (as To Kwok Wai) | |
Produced by | |||
| Claudie Chung Chun | .... | producer | |
| Hark Tsui | .... | producer | |
Original Music by | |||
| James Wong | |||
Cinematography by | |||
| Hang-Sang Poon | |||
Film Editing by | |||
| David Wu | |||
Production Design by | |||
| Kim-Sing Ho | |||
| Chi-Hing Leung | |||
| Vincent Wai | |||
Costume Design by | |||
| Po-ling Ng | |||
Production Management | |||
| Patrick Yip | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Yeung-Wah Kam | .... | assistant director | |
Other crew | |||
| Siu-Tung Ching | .... | action director | |
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| Rush Hour 2 | Mi ni te gong dui | Farewell My Concubine | Curse of the Golden Flower | The Myth |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Comedy section | IMDb Hong Kong section |
absolutely perfect film-making in a way that storytelling here is of foremost interest and not just great shots and cinematography like overrated Wong Kar Wai and Zhang Yimou used to do. This film beautifully depicting characteristic traits of China like its values, culture and principles and cleverly Tsui Hark let this clashed with politics, authority and government - which the last lyrical image of the laughing Peking Opera actor beautifully addressing to that political institutions are very transient but not Chinese valuable roots and traditions.
Sure, it's not evidently among Tsui Hark's bigger masterpieces like "Seven Swords" or "Once Upon A Time In China", but yet i think this surely should be compared to those greatest classics in the world but it's very difficult when a lot of people can't respect and understand Chinese traditions, so what we now have here is a tremendously underrated masterpiece that should be studied in the years to come, because is very inspirational how to tell a story in a visual way. Peking Opera Blues is the perfect paradigm.
I'll never forget this truly great film.