her. Four of the seven listed (Fong Yin Fun, Law Yim Hing, Fung Wong Nui and Tang Pik Wan) dressed in male costume on stage as well as in films at some point. The 1956 film How Wong Fei-hung Saved the Lovelorn Monk from the Ancient Monastery reflects how wide the range of films Yam was in. Linchpin Yam was the "speak softly and carry a big stick" member of Cantonese opera community but without cult of personality character. Entourage (hospital, airport, etc.) around her could become out of control if she allowed it. (For example, construction, medical and legal professionals at a certain pay grade were not allowed to advertise out-right in the past. Getting in the limelight with celebrities was an alternative or even better deal. The resulted stream of "an upscale clientele" was worth the time and expenses.) However, the residue value of her "down-ballot effect" is minimal for her co-stars. The last two, Lam and Loong, who played second fiddle to her on stage as second leading "men" continue to be super idols for decades. Since 1956, for four years and then only sporadically in 1960s, on stage she was limited to only work opposite Bak Sheut Sin, fifteen years her junior and green from debut only in 1953, as the abandoned woman, a character like Eliza in My Fair Lady, in Red Cherries and a Broken Heart (Chinese: 紅了櫻桃碎了心). Between 1953 and 1956, Bak played second fiddle (flowery role 花衫) to either Fong Yim Fun or Hung Sin Nui when Yam was the male lead opposite any one of them or Chan Yim Nung before that. They reprised many of those roles when the operas were adapted for the screen between 1951 and 1968. The only two made into movies are Li Yi (李益) in The Legend of the Purple Hairpin and Zhou Shixian (Chinese: 周世顯) in Tai Nui Fa. However, some of Yam's other roles like Liu Mengmei (Chinese: 柳夢梅) in the Cantonese opera version of The Peony Pavilion and Pei Yu (Chinese: 裴禹) in The Reincarnation of Lady Plum Blossom were never made into movies. The latter is available only in vocal record. Her Liu Mengmei (Chinese: 柳夢梅) was never recorded for commercial purpose with Bak Sheut Sin. Farewell The last overseas tour was 1968 in North America. With all of her 'next' generation, in tow, the last on stage live production of