毋庸讳言,在20世纪下半叶的华语电影史上,胡金铨是一位风格鲜明、影响广泛的导演。然而,研究者对胡金铨作品的探讨,大多集中于他在20世纪70年代创作的一系列杰作,如《侠女》(1971)、《迎春阁之风波》(1973)、《忠烈图》(1975)、《空山灵雨》(1978)等。与此形成对比的是,胡金铨在邵氏兄弟(香港)有限公司(以下简称“邵氏”)的创作却鲜有人关注。 Needless to say, in the history of Chinese films in the second half of the 20th century, Hu Jinquan is a sharp and influential director. However, most of the researchers’ research on Hu Jinquan’s works focuses on a series of masterpieces that he wrote in the 1970s, such as Chivalry (1971), The Storm in Yingchun Pavilion (1973), Zhongzhong Figure (1975) ), “Empty mountain spirit rain” (1978) and so on. In contrast, Hu Jinchuan’s work on Shaw Brothers (Hong Kong) Limited (“Shaw”) is seldom concerned.