The song was co-written by Alvin Kwok and Dean Richie, lyrics written by Poon Wai Yuen (潘偉源) and arrangement by Joey Villanueva.
This song "夜已深" ("Deep Into The Night") appeared in her 1991 album "親近我" ("Come Close To Me", DMI Records) which was produced by Alvin Kwok (郭小霖), a famously talented artist-composer-producer in HK. Here's what she looked like at the peak of her career, quite pretty la! Her voice is smooth and feminine, often emanating a unique sense of beauty, hence her songs are mostly emotional ballads. The song is sung by Cally Kwong (鄺美雲) who was second runner-up for Miss HK in 1982, she was a quite popular singer in the 80's to early 90's before becoming a successful businesswoman. Let me go on my journey in peace.Can't really describe how much I love this song, especially when I listen to it at night, so much feelings.
She gave a series of eight Coliseum concerts in November, climaxing with an appearance in a wedding gown many in the audience sensed that they were seeing her for the last time.Īfter her death, her last statement was read by her friends Jackie Chan and the fashion designer Eddie Lau: "Don't cry for me. Hounded by journalists, Mui held a press conference last September to confirm that she was battling cervical cancer and intended to beat it her sister Ann had died of ovarian cancer in 2000. At parties and receptions she was famously either quiet and withdrawn or noisily boisterous. In 1997, I played her Finlay Quaye's remarkable début single, "Sunday Shining", and she expressed a strong enthusiasm for recording a Cantonese cover version - before admitting that the Canto-pop industry would never accept such a song. No one who met Mui could doubt that she suffered frustrations and disappointments that went largely unexpressed. The film made many Ten Best lists when it was released in Britain in 1990. 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. 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. 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. Partly because of her "ugly duckling" looks, her acting career took longer to find a focus. 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.
Including compilations and repackaged releases, she sold an estimated 10 million albums across her 20-year professional career. 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. Her début 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 singing career took off virtually overnight. 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). 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. 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. She was born in 1963 (sources vary as to whether in Hong Kong or mainland China), into an impoverished family of four children.