First Film Organisation (Chinese:第一影業機構;pinyin:Dìyī Yǐngyè Jīgòu), also known asFirst Films (H.K.) orFirst Organization, was aTaiwan-basedfilm production anddistribution company founded in 1967 byHong Kong producerWong Cheuk-hon. The company produced over 200 films between 1967 and 1994, becoming the fourth largest film institution in the Hong Kong–Taiwan region during the 1970s, trailing onlyShaw Brothers Studio,Golden Harvest, and theCentral Motion Picture Corporation.^[1]

First Film Organisation is best known for producingKing Hu'sLegend of the Mountain (1979), which won sixGolden Horse Awards, andJimmy Wang Yu'sMaster of the Flying Guillotine (1976), which became one of the most influentialcult martial arts films in the West.^[2][3] The company pioneered a vertically integrated, cross-border business model—registered in Hong Kong while maintaining its production base in Taiwan—and operated cinema chains across Asia andNorth America.^[1]

First Film Organisation was the third production company founded byWong Cheuk-hon, building on infrastructure and talent relationships from two predecessors.Liberty Film Co. (自由影業公司, 1952–1958) producedMandarin-language films and established Wong as the first Hong Kong filmmaker to shoot in Taiwan.^[1]Lan Kwong Film Company (嶺光影業公司, 1959–1966) produced 53Cantonese titles and pioneered Hong Kong–Korean co-productions, includingThe Flaming Mountain (火焰山, 1962), the first Hong Kong Cantonese film shot inEastmancolor widescreen.^[4]

These earlier ventures established distribution relationships acrossSoutheast Asia, a talent pipeline including stars Helen Li Mei,Jeanette Lin Tsui, andAlan Tang, and production experience in Taiwan that First Film would inherit.^[1]

WhenKing Hu'sDragon Inn (1967) ignited Taiwan'swuxia craze atUnion Film, Wong recognized the commercial opportunity and established First Film Organisation in 1967, permanently relocating his production base to Taiwan.^[1] The company was registered in Hong Kong to access colonial-era banking infrastructure and establishedSoutheast Asian distribution channels, while production occurred primarily in Taiwan, where costs were lower and theKuomintang government actively courted filmmakers.^[5]

Wong himself wrote and directed the company's inaugural production,Crazy Swordsman (大瘋俠, 1968), which helped establish thewuxia film trend in Taiwan.^[1] The early output was prolific and almost exclusively wuxia and action films.

The 1970s represented First Film's commercial zenith. By 1971, Wong began recruiting major stars to elevate the company's profile.Jimmy Wang Yu—"the biggest star of Asian martial arts cinema untilBruce Lee"—became a cornerstone talent, driven partly to Taiwan-based work by a legal injunction fromShaw Brothers'Run Run Shaw.^[6]Chen Sing, known for commanding villain roles, joined alongsidePolly Shang-kuan Ling-feng, whom Wong reportedly secured with a HK$100,000 deposit after herUnion Film contract expired in September 1971.^[1] Japanese martial artistYasuaki Kurata rounded out the stable.^[1]

A 1977 survey by critic Tony Rayns published inSino-Cinema identified First Film and Goldig as "the most enterprising" independent companies in Taiwan.^[7] The company's vertically integrated business model encompassed production, distribution, and exhibition, with Wong purchasing the Kuotu Theatre (國都戲院) and Huasheng Theatre (華聲戲院) in Taipei, and eventually building the Huasheng cinema chain across six cities in theUnited States andCanada.^[1]

Jimmy Wang Yu, formerly Shaw Brothers' biggest male star, had broken his contract with Shaw in 1970 and was effectively banned from making films in Hong Kong after Shaw won a lawsuit against him.^[6] He relocated to Taiwan, where First Film Organisation became one of his primary production partners.

The partnership's defining achievement wasMaster of the Flying Guillotine (獨臂拳王大破血滴子, 1976), produced by First Films (H.K.) and Cheng Ming Film Co., with Wong Cheuk-hon as producer and Wang Yu writing, directing, and starring.^[8] The film's international martial arts tournament format—featuring fighters from different countries with distinct styles—and its unauthorized use of GermanKrautrock bands (Neu!,Tangerine Dream,Kraftwerk) for its soundtrack created a surreal atmosphere that deepened itscult appeal.^[9]

Wong Cheuk-hon's most critically acclaimed collaboration came with directorKing Hu in the late 1970s. After Hu's twoGolden Harvest co-productions (The Fate of Lee Khan andThe Valiant Ones, 1975) underperformed commercially, Wong provided financial backing for an ambitious double production filmed over eleven months inSouth Korea (1977–1978).^[1][10]

Legend of the Mountain (山中傳奇, 1979) was produced by Hu's own Feng Nian (豐年) company with Wong Cheuk-hon as executive producer, whileRaining in the Mountain (空山靈雨, 1979) was produced through Lo & Hu Company Productions Ltd.^[1] Both films were shot at Korea'sBulguksa Temple and surrounding locations, exploiting South Korean government subsidies that required producing two films.^[10] The Hong Kong Film Archive biography states Wong explicitly "supported King Hu" (支持胡金銓) in making these films, providing a patron-producer model that gave the auteur resources without studio interference.^[1]

Legend of the Mountain swept the16th Golden Horse Awards, winning six prizes: Best Film, Best Director, Best Cinematography, Best Art Direction, Best Recording, and Best Original Score.^[3] Its original 191-minute version was cut to 105 minutes for general release without Hu's approval; the complete version was not seen until the 20164K restoration.^[10]

First Film diversified beyond martial arts into romance, producing adaptations of popular novelistQiong Yao's bestselling works.Fantasies Behind the Pearly Curtain (一簾幽夢, 1975), directed by the distinguishedPai Ching-jui and starring Charlie Chin andPatrick Tse, exemplified this commercially astute strategy—Qiong Yao adaptations were reliable box-office performers in Taiwan throughout the 1970s.^[1]

The decade after 1979 proved existential for Taiwan's commercial film industry.Hong Kong's New Wave (featuring directors such asTsui Hark,Ann Hui, andAlex Cheung) rendered traditional martial arts films dated, while Taiwan's ownNew Cinema movement, launched withIn Our Time (1982), redirected critical and audience attention toward realistic, literary filmmaking.^[5] Home video proliferation undercut theater-dependent studios. For First Film, built primarily on wuxia and kung fu, this transformation was devastating.

Wong adapted through three strategies. First, he establishedHan Hua Film Co. (漢華影業社) in 1981 specifically to distribute Western (Hollywood) films in Taiwan—a pragmatic pivot leveraging his cinema circuit for imported content rather than struggling domestic production.^[1]

Second, he shifted the production company's identity entirely, pivoting from martial arts to historical prestige filmmaking.The Story of Dr Sun Yat Sen (國父傳, 1986), directed by longtime collaboratorTing Shan-hsi, assembled an unprecedented ensemble of Hong Kong and Taiwan stars—reportedly the most Hong Kong actors ever gathered in a Taiwanese production.^[1] The cast includedAlex Man asHuang Xing,Derek Yee asLu Hao-dong,Kara Wai as revolutionaryQiu Jin,Deanie Ip,Lau Kar-leung,Moon Lee,Chin Siu-ho, and many others, each paid a modest HK$5,000–10,000 honorarium plus airfare.^[1] The film grossed NT$46 million in Taiwan and received theatrical releases in Italy, France, and Spain.^[1] As a patriotic biopic about theROC founder, it aligned with Taiwan's government-supported cultural agenda.

Third, Wong's sonWong Hoi (黃海) establishedGolden Flare Films Co., Ltd. (金韻電影有限公司) in the late 1980s, effectively succeeding First Film Organisation as the active production entity.^[11]

Taiwan's lifting ofmartial law on 15 July 1987 further transformed the industry by enablingcross-strait cultural exchange and allowing previously censored material, opening new co-production possibilities with mainland China while intensifying foreign competition in Taiwan's market.^[5]

By the 1990s, the Wong family's corporate structure had settled into a clear hierarchy: First Film Organisation served as the legacy umbrella and presenter; Golden Flare Films handled active production under Wong Hoi; andFirst Distributors (HK) Ltd. managed distribution and the growing film library.^[12]

This arrangement produced the company's final—and arguably finest—film.Red Rose White Rose (紅玫瑰白玫瑰, 1994), directed byStanley Kwan, adaptedEileen Chang's 1944 novella withJoan Chen,Veronica Yip, andWinston Chao, cinematography byChristopher Doyle, and a budget of approximately $3 million.^[12]Variety's credit line revealed the family enterprise at work: "A First Distributors/Warner Asia release of a First Organization (Hong Kong)/Golden Entertainment (Taiwan) presentation of aGolden Flare Films Co. production. Produced by Hoi Wong [Wong Hoi]. Executive producer, C.H. Wong [Wong Cheuk-hon]."^[12] The film was shot in Shanghai studios—itself a testament to the post-martial-law era's cross-strait openness.

Red Rose White Rose won five awards at the31st Golden Horse Awards: Best Actress (Joan Chen), Best Adapted Screenplay, Best Art Direction, Best Costume Design, and Best Original Score.^[13] It screened in competition at the45th Berlin International Film Festival and was hailed byVariety as Kwan's "most emotionally resonant and deeply realized work sinceRouge."^[12][14]

Wong Cheuk-hon received theLifetime Achievement Award at the inaugural30th Golden Horse Awards ceremony in 1993, recognizing his contributions through First Film and its predecessors.^[15] He published his memoir《電影人生：黃卓漢回憶錄》 (A Life in Movies) in 1994, which has since become a primary source for the company's history.^[1]

Wong died in Hong Kong on 8 October 2004 at age 85, and First Film Organisation was dissolved.^[1] The bulk of the film library was donated to theHong Kong Film Archive—over 200 films plus more than 10,000 items of production materials.^[16] The distribution arm,First Distributors (HK) Ltd., continues operations under Wong Hoi.

First Film Organisation produced over 200 films between 1967 and 1994. The following tables document confirmed productions organized by era and genre.

Master of the Flying Guillotine grew its following through bootleg VHS copies,grindhouse screenings, and television syndication programs like "Kung Fu Theatre" (USA Network) and "Black Belt Theater" (WPIX).^[2]Quentin Tarantino has called it "one of my favorite movies of all time," and hisKill Bill (2003) bears its influence throughout: theShaw Brothers logo opens both volumes,Go Go Yubari's weapon echoes the flying guillotine device, and the track "Super 16" byNeu!—originally used without permission in Wang Yu's film—was licensed for the House of Blue Leaves sequence.^[9]

The film's international tournament format—fighters from different countries with distinct styles—is recognized as a conceptual prototype for the tournament structures in fighting video games.Capcom designerAkira Nishitani acknowledged martial arts films as influences onStreet Fighter II (1991), andDhalsim's design—an Indian yoga practitioner who extends his limbs to attack—bears striking resemblance to the Indian yogi fighter in the film.^[19]

TheWu-Tang Clan has prominently sampled and referenced First Film productions. The track "Wu-Tang Clan Ain't Nuthing ta Fuck Wit" samples dialogue fromMaster of the Flying Guillotine: "Fatal flying guillotine chops off your fuckin' head!"^[20]RZA launched the36 Cinema streaming platform in May 2020, screening classic kung fu films with live commentary.^[21]

The wuxia tradition exemplified by First Film productions continues to influence contemporary cinema.Shang-Chi and the Legend of the Ten Rings (2021) explicitly drew on the genre, with directorDestin Daniel Cretton citing Hong Kong martial arts films as influences, and choreography byBrad Allan of theJackie Chan Stunt Team.^[22]

Into the Badlands (AMC, 2015–2019), starringDaniel Wu, explicitly referenced Shaw Brothers and King Hu traditions, with fight coordinator Master Dee Dee Ku (The Matrix,Crouching Tiger, Hidden Dragon).^[23]

Lin Jing-jie's documentaryThe King of Wuxia (大俠胡金銓, 2022), a 221-minute tribute toKing Hu featuring interviews withJohn Woo,Tsui Hark, andAnn Hui, brought renewed attention to the Wong-Hu collaboration.^[24]

In 2024, theHong Kong Film Archive mounted a major retrospective, "Morning Matinee—Wong Cheuk-hon's Cinema Dream Life" (影畫早晨——黃卓漢的影夢人生), screening 16 selected films in 2K digital restorations across six thematic sections.^[25] The retrospective represented the most comprehensive public presentation of First Film's catalogue since the company's dissolution.

The original negatives ofLegend of the Mountain were stored at the Hong Kong Film Archive by First Film Organisation until 2016, when they were authorized for4K digital restoration by theTaiwan Film and Audiovisual Institute.^[26] The restoration premiered at theVenice Film Festival's Classics section and was subsequently released byKino Lorber (US) andEureka Masters of Cinema (UK).^[10]

Raining in the Mountain received a 2K restoration in 2018, also by TFAI, released by Eureka in 2020 andFilm Movement in the US.^[18]

Master of the Flying Guillotine remains without a proper HDBlu-ray release due to damaged source materials and unresolved music licensing issues with the Krautrock soundtrack, making it one of the most sought-after restorations in cult cinema.^[2]

First Film Organisation pioneered a vertically integrated, cross-border corporate structure that anticipated features of the modern global film industry.

First Distributors (HK) Ltd. (香港第一發行有限公司), founded in 1976, holds sole copyright to over 200 Chinese-language titles produced between 1950 and 1995 by Liberty Film, Lan Kwong, First Film Organisation, and Golden Flare Films.^[1] Key library titles includeMaster of the Flying Guillotine,Legend of the Mountain, theShocking Asia series, andRed Rose White Rose.

Remarkably, the company remains active as of 2025, managed by Wong Hoi from offices at Unit 9-D, Hollywood Centre,Sheung Wan, Hong Kong.^[1] First Distributors attends major international film markets includingBerlin EFM,Hong Kong FILMART, andCannes Marché du Film annually, and has expanded into acquiring foreign-language films (including recent French titles) for the Hong Kong market.^[1]

Wong'sHuasheng cinema chain (華聲院線) operated in six cities across the United States and Canada during the 1970s and 1980s, specializing in Mandarin-language films.^[1] The specific six cities remain unconfirmed, though the broader Chinese-language cinema circuit of that era concentrated inNew York City,Los Angeles,San Francisco,Toronto, andVancouver, with additional theaters inHouston,Chicago, or other majorChinatown cities. Between 50 and 100 Chinese movie theaters operated across North America during this period; Wong's chain was one of several major operators alongside Frank Lee Sr.'s network and Shaw Brothers-linked Golden Films International.^[5] The Huasheng chain declined with the VHS revolution in the late 1980s and had ceased operations by the 2000s.

In Taiwan, Wong owned theKuotu Cinema (國都戲院) andHuasheng Cinema (華聲戲院) in Taipei.^[1]

• Wong Cheuk-hon (黃卓漢, 1920–2004) – Founder, chairman, producer, occasional director; established predecessor companies Liberty Film and Lan Kwong;Golden Horse Lifetime Achievement Award (1993)^[15]
• Wong Hoi (黃海) – Son of Wong Cheuk-hon; founder ofGolden Flare Films (c. 1987); current managing director of First Distributors (HK) Ltd.^[12]

• Raining in the Mountain (1979): Hong Kong submission forAcademy Award for Best Foreign Language Film^[1]
• Red Rose White Rose (1994): In competition,45th Berlin International Film Festival^[14]
• Legend of the Mountain (2018):Venice Film Festival Classics section (4K restoration premiere)^[10]

• Cinema of Taiwan
• Cinema of Hong Kong
• Wuxia
• Shaw Brothers Studio
• Golden Harvest
• Union Film
• Central Motion Picture Corporation
• Wong Cheuk-hon
• Golden Flare Films

• Fu, Poshek (2023).Hong Kong Media and Asia's Cold War. Oxford University Press.ISBN 978-0198877684.
• Fu, Poshek (2008).China Forever: The Shaw Brothers and Diasporic Cinema. University of Illinois Press.ISBN 978-0252075001.
• Wong, Cheuk-hon (1994).電影人生: 黃卓漢回憶錄 [A Life in Movies: Memoirs of Wong Cheuk-hon] (in Chinese). Taipei: Wanxiang Books.
• Teo, Stephen (1997).Hong Kong Cinema: The Extra Dimensions. British Film Institute.ISBN 978-0851706535.
• Davis, Darrell William; Yeh, Emilie Yueh-yu (2005).Taiwan Film Directors: A Treasure Island. Columbia University Press.ISBN 978-0231128995.

• "Wong Cheuk-hon Filmmaker Profile"(PDF). Hong Kong Film Archive.
• "Wong Cheuk-hon Filmmaker Profile (English)"(PDF). Hong Kong Film Archive.
• "History of Korea-Hong Kong Co-Production". Korean Film Archive via Google Arts & Culture.
• Taiwan Film and Audiovisual Institute Database – searchable database of Taiwan film history

• Film production companies of Taiwan
• Film production companies of Hong Kong
• Entertainment companies established in 1967
• Entertainment companies disestablished in 2004
• 1967 establishments in Taiwan
• 2004 disestablishments in Taiwan
• Wuxia

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