“Without enough bulbs to adequately light the set, Nishimoto focussed on key-lighting the principles, rendering many backgrounds into moody shadows. The resultant film, The Magnificent Concubine, was a visual triumph, going on to win the Technical Grand Prize at the Cannes Film Festival, although Nishimoto kept away from the celebratory party, in order to preserve the illusion of the film as an all-Chinese achievement.”

From my article on Tadashi Nishimoto and other Japanese film-makers working under false Chinese names in the Hong Kong industry, included in the Arrow Films Shawscope #4 box set.