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Richard James Havis

Simon Yam Tat-wah, who began his film career as an extra in 1975, is perhaps Hong Kong’s most ubiquitous actor.
Best known for his parts in Category III (adults-only) films in the 1990s and for a slew of roles playing Hong Kong triad criminals, the prolific film and television performer has in fact played all kinds of characters in all kinds of genres.
Below, we explore Yam’s significant contribution to Hong Kong cinema with Grady Hendrix, a bestselling novelist and expert on Asian film.
Simon Yam has made around 240 films since 1975. What’s the secret of his success?
Quite simply, he works at it. He grew up quite poor and his dad was a tough guy – a Hong Kong police officer – who had a very vigorous work ethic. Yam really internalised that.
He has said in interviews that it is important to be on time, be prepared, and to get on and do the work. He loves acting and wants to make as many films as he can, and that approach also works out financially for him – he has never been ashamed to talk about making money.

Sometimes it seems like he takes any role he is offered.
In the 1990s, the triads controlled much of the moviemaking business, so there were a lot of terrible films coming out – and he was in a lot of them. Back then, he did not seem to be able to say no.
But that changed after 1998, when the Asian financial crisis hit the Hong Kong film industry and the production bubble burst. He said this led to some benefits on a personal level, as all of a sudden there were less films being made, and the ones that were often had better scripts and better directors. There were not so many fly-by-night movies.
Yam has always chosen to work in many different kinds of genres.
Yes, he has appeared in all kinds of genres. He was in the Gigolo and Whore films in the early 1990s – they were kind of romantic comedy dramas about a male prostitute.

He has played cops in innumerable action films. He has played hit men, he has played good guys and he has played bad guys. He played real-life triad members in the early 1990s in films which were sometimes funded by real-life triad members.
Viewers outside Hong Kong may not be aware of his more serious dramatic side.
Yes, he is fantastic in Echoes of the Rainbow, directed by Alex Law Kai-yui and produced by Mabel Cheung Yuen-ting, in which he stars as a Hong Kong everyman, a shoemaker who is kind of everyone’s favourite dad.
He recently did A Light Never Goes Out, in which he plays the guy who makes neon signs for Hong Kong. He should get more credit for his work in Ann Hui On-wah’s Night and Fog.

It was not unusual for mainstream stars to appear in adults-only Category III films in the 1990s, but Yam seems to have done it with gusto – he is famed for shockers like Raped by an Angel and Dr Lamb.
He has done a lot more Category III and Category IIB films than other actors, and he is happy to go to places other people will not.
He is a very handsome leading man to get to star in a Category III film, and I think that once producers realised he would say yes to those roles, they kept offering them to him – they realised that Chow Yun-fat and Andy Lau Tak-wah were not going to say yes to Category III films, but Yam would.
Anthony Wong Chau-sang was another actor who would say yes to them – but Yam is better looking.


Why do audiences and producers like him so much?
He is an incredibly good-looking guy with a really expressive face. He is one of those actors who look interesting when they are not actually doing much on screen. Even if he is just thinking on screen, he looks interesting. Yam just has that magnetism – he does not have to be “acting” to get your attention.
The other thing is that he has been around since the 1970s. People in Hong Kong have seen him on the screen all their lives – they have grown up with him. There is a familiarity that he brings with him, and that is really important to his career.
How do you rate his acting?
He is a really talented actor, and he is fearless. Even back in his television days at TVB he was fearless in his choice of roles.

In the film Dr Lamb he puts in a really intense portrayal of the killer – and he did not just play him once, as he had played him in a television movie before that. As he has got older, his intensity has muted, but he is still compelling.
He is not in the first rank of actors like Chow Yun-fat and Tony Leung Chiu-wai, but he is certainly above the second rank. Where does he fit in?
Chow Yun-fat has that smile and he is the good guy. Andy Lau Tak-wah can bring an edge but he is still the good guy, even though he played the triad punk when he was younger. Tony Leung is always likeable, even in Hard Boiled.
Simon Yam has that quality, but he is less concerned with his image and more concerned with doing the work. He likes to bring intensity to his roles and do something new, and if that makes the character he is playing seem monstrous, well OK.
Yam has never worried too much about his image, and that has made him a better actor. But it has also kept him from being a movie star at the level of Tony Leung or Chow Yun-fat.

In the late 1990s, Yam surprised local viewers by turning up in idiosyncratic Johnnie To Kei-fung films like The Mission and PTU. Did they help his career?
Their first movie together was Expect the Unexpected in 1998. Yam had done Casino and The King of Robbery, in which he had played real-life triad guys – they were really cheap movies and they did not do a lot for his reputation.
Then Expect the Unexpected came out with Yam in a classical leading man role. That movie is a really fantastic two-hander between Yam and Lau Ching-wan.
After that, there was To’s The Mission, and then Wilson Yip Wai-shun’s Juliet in Love. Yam’s performances in these three films led to him being taken a lot more seriously as an actor.
In this regular feature series on the best of Hong Kong cinema, we examine the legacy of classic films, re-evaluate the careers of its greatest stars, and revisit some of the lesser-known aspects of the beloved industry.
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Asian cinema: Hong Kong film

Is Simon Yam Hong Kong’s most fearless actor? Triads, gigolos, killers, he played them all

Simon Yam at the 2017 Hong Kong Film Awards presentation ceremony. Photo: Edward Wong

Hong Kong actor Simon Yam at an interview with the Post in 2013. Yam is known for his work ethic, his roles in 1990s adults-only films, and for playing triad criminals. Photo: Antony Dickson

Simon Yam pictured in 1988. Photo: SCMP

Simon Yam (left) and Sandra Ng in a still from Echoes of the Rainbow (2010).

Chou Han-ning (left) and Simon Yam in a still from A Light Never Goes Out (2022).

Simon Yam in a still from Dr Lamb (1992).

Simon Yam (front) in a still from The Mission (1999).

Who is Gordon Liu? Hong Kong martial artist played a bald monk and had two Kill Bill roles

Gordon Liu and Uma Thurman in a still from Kill Bill: Volume 2. Photo: AP

Gordon Liu in a still from The Eight Diagram Pole Fighter. Liu has had an illustrious film career that has spanned decades. Photo: Shaw Brothers

Liu in a still from The 36th Chamber of Shaolin. Photo: Shaw Brothers Studio

Lau Kar-leung (left) and Liu in a still from Challenge of the Masters (1976).

Liu (left) and Lau Kar-leung (centre) pictured in 2003. Photo: SCMP

Liu in a still from The 36th Chamber of Shaolin.

Liu (left) and Hsiao Ho in a still from Legendary Weapons of China.

Liu and Uma Thurman in a still from Kill Bill: Volume 2. Photo: AP

In Detective Dee and the Mystery of the Phantom Flame, Tsui Hark mixes martial arts and Sherlock Holmes-style sleuthing

Andy Lau as Di Renjie in a still from Detective Dee and the Mystery of the Phantom Flame.

Andy Lau as Di Renjie in a still from Detective Dee and the Mystery of the Phantom Flame. Tsui Hark’s 2010 fantasy wuxia film was a box-office hit and spawned two sequels.

(From left) Director Tsui Hark, Andy Lau and Li Bingbing on the set of Detective Dee and the Mystery of the Phantom Flame.

Tsui Hark at an interview with the Post in 2010. Photo: SCMP

Carina Lau as Wu Zetian in a still from Detective Dee and the Mystery of the Phantom Flame.

Sammo Hung on the set of Detective Dee and the Mystery of the Phantom Flame.

Changing culture in Hong Kong around 1997 handover captured in Fruit Chan’s films The Longest Summer and Little Cheung

Mak Wai-fan (top) as Ah Fan and Yiu Yuet-ming as as Little Cheung in a still from Fruit Chan’s Little Cheung.

A still from Little Cheung. Fruit Chan Gor’s Made in Hong Kong, The Longest Summer and Little Cheung present a complete picture of Hong Kong working-class life at the time of the territory’s handover from British to Chinese rule in 1997.

Tony Ho (left) as Ga-yin and Sam Lee (right) as Ga-suen in a still from The Longest Summer.

Jo Kuk as Jane in a still from The Longest Summer.

Fruit Chan, director of The Longest Summer and Little Cheung, pictured in 1999. Photo: SCMP

Yiu Yuet-ming (left) as Little Cheung and Mak Wai-fan as Ah Fan in a still from Little Cheung.

Maggie Q, Andy Lau and Sammo Hung help bring alive 2 war epics Hong Kong directors filmed in China

Andy Lau in a still from Hong Kong-China co-production Three Kingdoms: Resurrection of the Dragon. The 2008 war epic directed by Daniel Lee co-starred Maggie Q, with a cameo from Sammo Hung, and is a retelling of a story from the classic Chinese novel Romance of the Three Kingdoms.  

Sammo Hung (left) as Luo Ping-an and Andy Lau as General Zhao Zilong in a still from Three Kingdoms: Resurrection of the Dragon.

Daniel Lee at an interview with the Post in 2009. Photo: May Tse

Maggie Q in a still from Three Kingdoms: Resurrection of the Dragon.

Sammo Hung (front) as a failed general and Vincent Zhao as general Qi Jiguang in a still from God of War.

Gordon Chan, pictured in 2014. Photo: Edward Wong

Yasuaki Kurata as a Japanese samurai leading the pirates in God of War.

How Infernal Affairs II and III tried to emulate the success of the original with Andy Lau and Tony Leung, but couldn’t

Kelly Chen Wai-lam (left) and Tony Leung Chiu-wai in a still from Infernal Affairs III. Photo: Media Asia Films

Andy Lau Tak-wah (front) and Leon Lai Ming in a still from Infernal Affairs III. This and Infernal Affairs II never lived up the original starring Lau and Tony Leung Chiu-wai, in part because the 2002 film didn’t leave much room for follow-ups. Photo: Media Asia Films

(From left) Andy Lau, Tony Leung Chiu-wai, Kelly Chen, Leon Lai Ming and Chapman To Man-chat publicise the launch of Infernal Affairs III in Beijing in 2003. Photo: SCMP

Alan Mak Siu-fai (left) and Andrew Lau Wai-keung on the set of Infernal Affairs III.

Francis Ng (front) in a still from Infernal Affairs II.

Kelly Chen and Tony Leung in a still from Infernal Affairs III. Photo: Media Asia Films

Andy Lau (front) in a still from Infernal Affairs III.

Lifestyle

Entertainment

Culture

Film & TV

Classic Hong Kong cinema

Classic Hong Kong cinema: John Woo on action, violence, influences, growing up in poverty and working in Hollywood in 1997 interview

Legendary Hong Kong action film director John Woo in 1990. Photo: SCMP

Famous Hong Kong action film director John Woo talks about his life and work in a 1997 interview. Photo: SCMP

John Travolta (top) and Nicolas Cage in a still from Face/Off.

John Woo during an interview in 1996. Photo: SCMP

Tony Leung (left) and Chow Yun-fat in a still from Hard Boiled (1991), directed by Woo.

Woo (left) shakes hands with actor Tom Cruise at a photo call in Tsim Sha Tsui in 2000.

Danny Lee (left) and Chow Yun-fat in a still from The Killer, a 1989 film directed by John Woo.

Woo in his office in 1993. Photo: SCMP

Woo on the set of Red Cliff, with actor Takeshi Kaneshiro.

How Ringo Lam crime thriller Full Alert mixed realistic action on Hong Kong streets with premonition of 1997 handover

Lau Ching-wan in a still from Full Alert.

Lau Ching-wan hunting down an escaped robber in the mean streets (Bird Street) of Mong Kok in Ringo Lam’s 1997 movie Full Alert.

Ringo Lam, pictured in 1995. Photo: SCMP

Lau Ching-wan (left) and Francis Ng in a still from Full Alert.

Amanda Lee (front) in a still from Full Alert. Photo: Eureka Entertainment

Francis Ng in a still from Full Alert.

Ringo Lam in an interview with the Post in 1997. Photo: SCMP

Hong Kong’s first art-house film, Cecille Tong Shu-shuen’s The Arch, starring Crazy Rich Asians’ Lisa Lu Yan, was ahead of its time

Lisa Lu in a still from Cecille Tong Shu-shuen’s The Arch (1970), considered to be Hong Kong’s first art-house film.

Cecille Tong and members of her staff at Joss, the Chinese restaurant she runs on Sunset Boulevard, Los Angeles.

Lisa Lu, who starred in The Arch and The Empress Dowager, poses with her daughter Lucia Hwong in 1978. Photo: SCMP

Lisa Lu in a still from The Arch.

Promotional stills for Sup Sap Bup Dup (1975), directed by Tong.

A scene from the 1974 film China Behind, directed by Tong.

How Bruce Lee’s Way of the Dragon made Chuck Norris a star with their fight in Rome’s Colosseum, and what the film showed about Lee’s directing

Bruce Lee in a still from The Way of the Dragon (1972). Photo: Criterion Collection

Bruce Lee in a still from The Way of the Dragon (1972), which he starred in and directed. Photo: Criterion Collection

Bruce Lee as Ah Lung (front) and Nora Miao as Chen Ching Hua in a still from The Way of the Dragon. Photo: Golden Harvest

Chuck Norris and Bruce Lee in a still from The Way of the Dragon. Photo: LCSD

Bruce Lee and Chuck Norris in a still from The Way of the Dragon. Photo: Criterion Collection

Maggie Cheung in her own words, on Wong Kar-wai and In the Mood for Love, marrying Olivier Assayas and being an actress, not just a film star

Interview with award-winning actress Maggie Cheung Man-yuk at Grand Hyatt Hotel.

Maggie Cheung at an interview with the Post in 2001. Photo: SCMP.

Maggie Cheung (left) and Cherie Chung in a still from Prince Charming (1984).

Maggie Cheung (left) and Andy Lau in a still from As Tears Go By (1988).

Maggie Cheung in a still from the 1996 film Irma Vep.

Maggie Cheung (left) and Tony Leung in a still from In the Mood for Love (2000).

Peter Chan’s early films, featuring the two Tony Leungs and Maggie Cheung, were a breath of fresh air in Hong Kong

Anita Yuen (left) and Leslie Cheung in a still from He’s a Woman, She’s a Man (1994).

A promotional image of He Ain’t Heavy, He’s My Father (1993), starring Tony Leung Chiu-wai (first from right) and Tony Leung Ka-fai (second from right). Peter Chan Ho-sun’s early films “have an international, almost placeless feel” despite their local issues and references.

Film director Peter Chan Ho-sun in 1995. Photo: SCMP

Eric Tsang (left) and Leslie Cheung in a still from He’s a Woman, She’s a Man, the 1994 film directed by Peter Chan.

Fallen Angels: Wong Kar-wai on casting Leon Lai, Michele Reis, Charlie Yeung and Karen Mok against type in 1995 film

Michele Reis and Takeshi Kaneshiro in a still from Wong Kar-wai’s Fallen Angels. Photo: Block 2 Pictures and Jet Tone Contents

Leon Lai in a still from Wong Kar-wai’s Fallen Angels, the 1995 film that was almost part of Chungking Express.

Wong Kar-wai in front of a promotional poster for Fallen Angels in 1995. Photo: SCMP

Takeshi Kaneshiro in a still from Fallen Angels.

Leon Lai (left) and Michele Reis in a still from Fallen Angels.

Michele Reis in a still from Fallen Angels.

(Clockwise from top left) Charlie Yeung, Michele Reis, Leon Lai and Takeshi Kaneshiro in a still from Fallen Angels.

Leon Lai plays a hitman in a still from Fallen Angels.

How Running Out of Time, starring Andy Lau and Lau Ching-wan, helped shape the ‘Johnnie To Cinematic Universe’

Andy Lau in a still from Johnnie To’s Running Out of Time (1999).

Andy Lau, pictured with Helena Law at the 19th Hong Kong Film Awards in 2000, where he was named best actor for his role in Running Out of Time. Photo: SCMP

A still from The Mission (1999).

Lau Ching-wan (left) and Andy Lau in a still from Running Out of Time (1999).

Johnnie To in his Kwun Tong office in 1999. Photo: SCMP

Ekin Cheng in a still from Running Out of Time 2.

Likened to Hollywood hit Love Story, this film beat Jackie Chan, Jet Li at the Hong Kong box office in 1993

Anita Yuen (left) and Lau Ching-wan in a still from C’est La Vie, Mon Cheri.

Anita Yuen (left) and Lau Ching-wan in a still from C’est la Vie, Mon Cheri. It beat films starring Jackie Chan and Jet Li to become a box-office hit in 1993. Photo: courtesy of LCSD 

Film director Derek Yee Tung-sing giving a thank-you speech after being awarded the best director prize at the 13th Hong Kong Film Awards for his film, “C’est La Vie, Mon Cheri”. Photo: SCMP

Lau Ching-wan (left) and Anita Yuen in a still from C’est La Vie, Mon Cheri.

Winners at the 13th Hong Kong Film Awards pose for a group picture. From left in the first row are best supporting actor Paul Chun Pui, best actor Anthony Wong Chau-sang, best actress Anita Yuen Wing-yee, best supporting actress Fung Bo-bo and best director Derek Yee Tung-shing. With the exception of Wong, all the others worked on C’est La Vie, Mon Cheri. Photo: SCMP

Brigitte Lin’s first gender-neutral role, Sally Yeh’s butch Beijing Opera performer make Tsui Hark’s 1986 period comedy Peking Opera Blues highly enjoyable

Peking Opera Blues starring Brigitte Lin remains an enjoyable tale of espionage, Chinese opera and gender bending. Mark Cheng (left) and Brigitte Lin in a still from Peking Opera Blues. Photo: Peking Opera Blues

Playwright Raymond To Kwok-wai, pictured in 1994, was the screenwriter behind both Shanghai Blues and Peking Opera Blues. Photo: SCMP

Sally Yeh (left) in a still from Shanghai Blues, which was released two years before Peking Opera Blues. Photo: Hong Kong Film Archive

(From left) Brigitte Lin, Cherie Chung and Sally Yeh in a still from Peking Opera Blues. Photo: Peking Opera Blues

Tsui Hark, posing beside the poster for another of his movies, A Better Tomorrow III, in 1989. Photo: SCMP

Brigitte Lin (right) in a still from Peking Opera Blues. Photo: Peking Opera Blues

A change from Jackie Chan and Jet Li – Beast Cops’ Gordon Chan on how directing the Hong Kong gangs vs police film was not like his previous work

A still from Beast Cops. Photo: Handout

(From left) Sam Lee, Anthony Wong and Michael Wong in a still from Beast Cops, a Mong Kok-set gangs vs police action drama directed by Gordon Chan.

Best actress Sandra Ng Kwan-yu (left) and best actor Anthony Wong Chau-sang with their awards at the 18th annual Hong Kong Film Awards in 1999. Ng starred in Portland Street Blues and Wong in Beast Cops. Photo: SCMP

Jet Li in a still from Fist of Legend, the 1994 film directed by Gordon Chan.

Michael Wong (front) in a still from Beast Cops.

Directors Gordon Chan (left) and Dante Lam, pictured in 2006. Photo: SCMP

(From left) Anthony Wong, Kathy Chow and Michael Wong in a still from Beast Cops.

Anthony Wong in a still from Beast Cops.

Romance meets ghost story in Hong Kong movie masterpiece Rouge, starring Anita Mui and Leslie Cheung and directed by Stanley Kwan

Anita Mui and Leslie Cheung in a still from Rouge.

Leslie Cheung and Anita in a still from Rouge (1988), directed by Stanley Kwan, in which she plays a 1930s courtesan who returns 50 years later as a ghost seeking her lover, played by Cheung.

Anita Mui (centre) alongside Alex Man (left) and Elaine Chu in a still from Rouge.

Stanley Kwan in an interview with the Post in 1988. Photo: SCMP.

Anita Mui and Leslie Cheung in Rouge.

Made in Hong Kong, Fruit Chan’s take on grim reality of 1997 for many in the city, and how the groundbreaking independent film was conceived

Sam Lee in a still from Made in Hong Kong. Photo: Focus Films Limited

Sam Lee in a still from Made in Hong Kong, Fruit Chan’s 1997 film about the grim reality of life for many people in Hong Kong. Photo: Golden Scene

(From left) Wenders Li, Sam Lee and Neiky Yim in a still from Made in Hong Kong.

Fruit Chan (centre), winner of Best Director and Best Picture at the 3rd Golden Bauhinia Awards Ceremony, alongside actors Neiky Yim (left) and Sam Lee, in 1998. Photo: SCMP

Sam Lee and Neiky Yim in a still from Made in Hong Kong. Photo: Golden Scene

Sam Lee and Neiky Yim in Made in Hong Kong. Photo: Nicetop Independent

Why Boat People, starring Andy Lau and George Lam, Ann Hui’s hit film about post-war Vietnam, displeased the Chinese and French authorities

Andy Lau as To Minh in a still from Boat People (1982). Ann Hui intended the film to tell a human story that explained why refugees were fleeing Vietnam. Hong Kong film-goers saw it as an allegory of the city’s future under Chinese rule. Photo: Bluebird Film Company

George Lam (left) and Season Ma in a still from Boat People. Photo: Bluebird Film Company

Ann Hui won the Golden Lion for Lifetime Achievement at the 77th Venice Film Festival in 2020. Photo: Reuters

A still from Boat People showing Vietnamese military personnel in the streets.

Andy Lau as To Minh (left) and George Lam as Akutagawa in a still from Boat People.

Andy Lau as To Minh in a still from Boat People.

What they said about In the Mood For Love: director Wong Kar-wai and stars Tony Leung and Maggie Cheung on filming the romantic drama

Maggie Cheung in a still from In The Mood For Love. Photo: Jet Tone Films

Maggie Cheung Man-yuk and Tony Leung Chiu-wai in a still from In the Mood for Love, directed by Wong Kar-wai. Photo: Jet Tone Films

Tony Leung (left), Maggie Cheung and director Wong Kar-wai during the promotion for In the Mood For Love in Cannes, in 2000. Photo: AFP/Jack Guez

Maggie Cheung in a still from In the Mood For Love. Photo: Jet Tone Films

Tony Leung in a still from In The Mood For Love. Photo: Jet Tone Films

Tony Leung (left) and Zhang Ziyi in a still from 2046. Photo: Block 2 Pictures and Jet Tone Contents

Maggie Cheung and Tony Leung in a still from In the Mood For Love. Photo: Jet Tone Films

Jackie Chan focused on ‘real kung fu’ in Drunken Master II in reaction to shoddy ‘wire fu’ martial arts films of the early 90s

Jackie Chan in a still from Drunken Master II (1994). The movie focused heavily on real kung fu by real martial artists, as an antidote to the slew of shoddy ‘wire fu’ movies in the early 1990s.

Jackie Chan at an interview with the Post in 1994. Photo: SCMP

Jackie Chan in a still from Drunken Master (1978). Photo: Golden Harvest

Jackie Chan (left) on the set of Drunken Master II.

Jackie Chan (right) and Felix Wong in a still from Drunken Master II (1994).

Stephen Chow’s Shaolin Soccer and Kung Fu Hustle were not the films that made the Hong Kong comedian famous – so which ones did?

Stephen Chow as Trinket in a still from the film Royal Tramp.

Stephen Chow (left) and Ng Man-tat in a still from Royal Tramp. Critics called Chow 
 “the finest Hong Kong comedian of his generation” and “Hong Kong’s hottest actor” of the 1990s.

Stephen Chow at an interview with the Post in 1989. Photo: SCMP

Stephen Chow at a film shoot in 1989. Photo: SCMP

Ng Man-tat (left) and Stephen Chow in a still from All for the Winner.

Stephen Chow (left) and Anita Yuen in a still from From Beijing with Love.

Gong Li (left) and Stephen Chow pose for photographers to promote The Flirting Scholar in 1993. Photo: SCMP

Stephen Chow in a still from Shaolin Soccer.

‘I am not Jackie Chan or Chow Yun-fat’: Hong Kong actor Lau Ching-wan on why Hollywood doesn’t need him, bad guy roles, and The Godfather

Lau Ching-wan during an interview with the Post in 1996. Photo: SCMP

Is Simon Yam Hong Kong’s most fearless actor? Triads, gigolos, killers, he played them all

.css-1mniedq{color:inherit;font-weight:inherit;font-size:inherit;font-family:inherit;line-height:inherit;}Magnetic, intense and fearless, Simon Yam is the star of Category III (adults-only) and mainstream crime films who also shot serious dramas

Magnetic, intense and fearless, Simon Yam is the star of Category III (adults-only) and mainstream crime films who also shot serious dramas