Kwan opened the film with haunting portraits of Fleur applying her make-up and then brought her into the

Kwan opened the film with haunting portraits of Fleur applying her make-up and then brought her into the action as a sing-song girl in male drag; the mixture of androgyny and ethereal beauty came closer than any role before or after to defining Mui’s unique appeal. So we have shifted our focus away from the FTSE 100 towards mid-cap and even smaller stocks.First up is Business Post, an ambitious courier company which is set to be the first to break the Royal Mail’s monopoly over letters. Her gift for comedy was first glimpsed in Alfred Cheung’s Let’s Make Laugh (1983) and she was lucky enough to be cast opposite Leslie Cheung for the first time in Taylor Wong’s crime thriller Behind the Yellow Line (1984), which also won her the Best Supporting Actress nod in the Hong Kong Film Awards.Her breakthrough role was in Stanley Kwan’s Rouge (1987) playing Fleur, a 1930s courtesan who dies in a suicide pact and returns to Hong Kong 50 years later as a ghost, looking for the lover (Leslie Cheung) who has failed to join her in the afterlife. Journalists began comparing her with Madonna in the mid-1980s, largely because of her frequent changes of “image”, but the way that her extrovert eccentricities were underpinned by suggestions of melancholy actually brought her a lot closer to Kate Bush territory.Partly because of her “ugly duckling” looks, her acting career took longer to find a focus. She and her sister Ann were breadwinners before the age of five, singing for pennies in an amusement park soon after the premature death of their father. In 1982 she took a crucial step towards rebuilding her own future when she entered the first song contest organised by the popular television station TVB. Despite a regrettable choice of hair style and frock, she won with a cover of Paula Tsui’s “Season of the Wind” and was rewarded with a record contract and, less auspiciously, a supporting role in a Zhang Che film, the macho action fantasy Dancing Warrior (1983).Her singing career took off virtually overnight.

Her d?t album, The Crimson Anita Mui (1983), sold a quarter of a million copies, unprecedented success for a newcomer, and she set house records with a 15-night stand at the Hong Kong Coliseum in December 1985 – only to break them with a 30-night run at the same huge venue five years later. Her fourth album, Bad Girl (1986), remains the best-selling Canto-pop record ever released in Hong Kong (it earned eight platinum discs, getting on for half a million sales) despite the title song’s being banned from the radio for its “controversial” lyrics.Including compilations and repackaged releases, she sold an estimated 10 million albums across her 20-year professional career. Coming at the end of a year which also saw Leslie Cheung’s suicide in April and the death of songwriter Lam Chun-Keung (who provided Mui with some of her best lyrics) in November, it seems to bring the “golden age” of Hong Kong showbiz to a symbolic close.Mui was the epitome of the self-made diva – a point not lost on Hong Kong’s embattled Chief Executive, Tung Chee-Hwa, who proclaimed: She started her stellar career on her own and achieved much with her own efforts; this was typical of how many Hong Kong people achieved successes.She was born in 1963 (sources vary as to whether in Hong Kong or mainland China), into an impoverished family of four children. Mui Yim-Fong (Anita Mui), actress and singer: born 10 October 1963; died Hong Kong 30 December 2003.
The death of Anita Mui is terrible news not only for Hong Kong’s entertainment industry but also for the already battered morale of the Hong Kong people. It were ower Norman that let it drop, What wor ‘e thinking of?”There was a moment of contemplation at such incompetence before one patted the other’s arm: “Tha sees Blood tells.”Derek Hodgson. The death of Anita Mui is terrible news not only for Hong Kong’s entertainment industry but also for the already battered morale of the Hong Kong people. The umpire’s call did not carry to the ring and Horner, aware of what had happened, allowed the ball to drop to earth before casually returning it to the wicket-keeper.According to Bannister, two watching Yorkshire spectators were scandalised:”Didsta see that?”"Aye, ah did.

Norman Frederick Horner, cricketer: born Queensbury, Yorkshire 10 May 1926; died Driffield, East Yorkshire 24 December 2003. Norman Horner was a short, free-scoring right-hand batsman who emerged from the Bradford League to play two matches for Yorkshire in 1950 and then, finding himself way down the queue for a place as an opening bat, moved to Warwickshire on a special registration in 1951, where he spent the next 15 years and 357 matches proving Yorkshire were wrong to release him.He passed 1,000 runs in a season 12 times, scoring 1,902 at an average of 33 in 1960, the year he recorded his career-best 203 not out against Surrey at the Oval. In that same match he shared a Warwickshire record opening stand of 377 with Billy Ibadulla.Always a popular figure whether at Edgbaston or back at his home-town club of Queensbury, he was a keen gardener who became a groundsman, retiring from Warwick School in 1989. Jack Bannister, the former Warwickshire bowler and cricket correspondent of the Birmingham Post, tells of Horner’s return to Yorkshire as a Warwickshire player.The scene was Park Avenue, Bradford. Yorkshire were batting and Ted Lester hit a no-ball high towards where Horner was fielding in the boundary. Six years later he returned, performing in fringe theatre and subsequently on television in Red Dwarf (1994-95), as General Russell in Bugs (1995) and as Sir Gilbert in the big-budget television drama Merlin (1998) with Sam Neill, Helena Bonham Carter and Sir John Gielgud.

His last screen appearance was in Patrice Ch?au’s film Intimacy (2001).Howard Mutti-Mewse. In 1979, he gained a place at Rada, but left the following year in order to play Mordred.Blond and blue-eyed, suave, with aristocratic good looks, at one time Addie was hardly out of the tabloid press. After Excalibur, he became somewhat typecast, playing a series of mythological warriors or army men. He played the title role in the short-lived mini-series Stalky & Co (1982) and was Grantly Goulding in The First Olympics: Athens 1896 (1984), before taking the role of Guy of Gisburne.Cinemagoers saw him as Delahay in Another Country (1984), starring Rupert Everett and Colin Firth, and again with Firth in the comedy Dutch Girls (1985). He was cast as Sir Charles Kirkgordon in I’ll Take Manhattan (1987) as Lord Peter Gillingham in the Barbara Cartland bodice- ripper A Hazard of Hearts (1987).In 1989, Addie went into semi- retirement, dividing his time between the United States and a home in Spain. He left at 16 and worked as an estate agent before deciding to enrol at the National Youth Theatre.