Movie Magazines.... Premier Entertainment Resource of the Past

Lights, Camera, Action!....Read!

Raja collects recyclables from my area regularly. We donate generously because we know he uses the money to help fray his costs in transporting volunteers to the soup kitchen in town. One morning I happen to be outside when Raja arrives. I help him load two large stacks of old newspapers into his van. Then, just as I am closing the door, I notice an old magazine on his passenger seat. I can see it is an old copy of the Shaw Brothers Indian Movie News. I offer to buy the magazine thinking that he got it during one of his recycling trips.

Realising my interest, Raja then regales me with the story about how his father, being an avid movie fan, formed a vast collection of movie paraphernalia during his youth. Raja inherited the collection after his father's demise several years ago. He likes to read about the old movies and occasionally brings the magazines to read in his van. Curiosity gets the better of me and I ask to see his collection.

I am filled with mixed emotions when I arrive at Raja's house that afternoon. I am happy to see so many items ranging from movie ticket stubs, promotional posters, calendars featuring movie stars, film related magazines, black and white photographs of cinemas, movie fliers and even rare pass out cards. But at the same time it pains me to see all these priceless items being haphazardly thrown all over his study. I begin to study the items while arranging them in order.

After going through half of the items, I become consciously aware of the importance of marketing and promotions to the film industry. This is especially so during the golden age of local movies which spanned some three decades, from the mid 1950s to the late 1970s. Movie producers then placed a lot of emphasis on publicity to help sell their films. Their preferred marketing method was to produce magazines to constantly position their newly launched movies in the minds of the fans.

A vast majority of the entertainment magazines in Raja's collection were produced by the famous Shaw Brothers. I also see other smaller publications like Arena Film, Berita Film dan Sport and Bintang but the magazines produced by Shaw are much superior in terms of content and quality.

Although not the first to produce movie magazines in Malaya and Singapore, Shaw Brothers thoroughly understood their effectiveness. They owned a printing press, the Shaw Printing Works, that soon churned out a continuous stream of publicity materials. Shaw published film magazines in four local languages under the banner of the Chinese Pictorial Review Ltd which was incorporated in Singapore.

The first film magazine to come into the market was in English called Movie News. Going by the tagline '.....by movie people, for movie goers......' the 60 page magazine featured reviews and glossy photographs of newly released movies from Hollywood as well as those from the Shaw Studios in Hong Kong and Singapore. To further attract readers, the magazine featured full page photographs of popular stars as well as a series of contests. Fans usually flip to the contest pages the moment they get their hands on the latest magazine. Their purpose? To see if they can answer the quizzes correctly and hope to win prizes in the form of cash and complimentary theatre passes.

The first Movie News issue was printed in July 1948 with 5,000 copies going out to the Shaw stable of cinemas in Malaya, Singapore and Borneo. Shaw wanted the magazine to be affordable to everyone and priced it at only 20 cents a copy, making it the cheapest monthly entertainment magazine in the market. The first issue was an instant success, selling out in just a matter of days. The magazine was so popular that people would buy, read and then resell them for a profit. Realizing the huge demand for the magazine, Shaw increased the print run for subsequent issues.

Among all the Movie News magazines in the collection, the one I like best is the June 1964 issue because Elvis Presley is featured on the front cover. I also notice that the selling price had increased by 30 cents since its inception 16 years earlier. Four new movies were featured, namely Wild and Wonderful, Sex and the Single Girl, Honeymoon Hotel and Rhino. The personality feature for that month include Rock Hudson, Ann-Margret, Claudia Cardinale and Connie Francis. Like most other magazines in the collection, the Film Quiz, Film Flam and Jig Saw contest entry forms are missing. I guess the original owner must have removed them in order to participate. I hope the person won something.

The Editor's Chair section catches my eye as it refers to the annual Asian Film Festival in Taipei. It further reported that Shaw Brothers submitted a total of eight films for the festival, two in the Malay language and the rest in Mandarin. The editor ends by advising readers to look out for complimentary postcard size portraits of film stars included in the magazine. The Editor said that this generous gesture was in response to the overwhelming requests from many readers.

The reference to the film festival jolts my memory. Taipei played host to the 11th Asian Film Festival in 1964. I clearly remember the Best Comedy Film category was won by Madu Tiga. This black and white romantic comedy film was both directed and starred by the screen legend, P. Ramlee. The plot revolves around a childless couple, Jamil (P. Ramlee) and Latifah (Zaharah Agus). Jamil subsequently marries Hasnah (Jah Hj Mahadi) without his first wife's knowledge. After that, Jamil meets Rohani (Sarimah) during the course of his work and marries her as well. The scene becomes chaotic when the women realize that they were all married to the same man. Like most movies of that era, the film ends on a happy note when Jamil promises to be equally fair and loving to each one of his wives. In October 2014, The Straits Times called Madu Tiga a classic and ranked it among the top five greatest Malay films made in Singapore.    

On a more solemn note, the film industry lost one of its prominent leaders when Loke Wan Tho together with his wife, Mavis Lim perished in a plane crash on 20 June 1964. The couple had just attended the 11th Asian Film Festival days earlier. Loke's untimely death sent shockwaves throughout the movie making industry. Many of his peers knew him as a prominent film entrepreneur who built up Cathay Organisation and established the Cathay chain of cinemas throughout Malaya and Singapore.

Spurred by the success of Movie News, Shaw Brothers branched into other film publications - the Malay version, Majallah Filem and Indian magazine, Indian Movie News. Movie News circulation topped 30,000 copies by 1980 before declining rapidly due to the introduction of entertainment magazines from abroad. Finally, Shaw stopped the production of all its magazines in the late 1980s.

The Chinese language entertainment magazine was dominated by the 200 page monthly called Southern Screen. It was produced the Shaw Brothers Hong Kong division. Southern Screen was first published in 1957 when Run Run Shaw took over the Hong Kong film production from his brother Runde Shaw. Right from the start, Southern Screen showed a marked improvement from Rundme's Screen Voice Pictorial film magazine by increasing content on newly released films, producing high quality photographs of famous stars and even including lengthy commentaries on the latest gossip and news to come out of the Shaw Studios at Clearwater Bay.

Southern Screen quickly became the best selling film magazine of all time among all of Shaw Brothers publications. Monthly circulation hit the magical 100,000 mark in the mid 1960s, reaching readers as far away as the Americas and Europe.

Shaw did not only depend solely on print publicity to increase its fan base. Personal appearances by stars from Hollywood and Shaw Studios during movie premieres, cinema openings, festivals and charities in Singapore and Malaysia also helped promotional efforts greatly. Charity premiers were often attended by prime ministers of both countries as well as other important government officials. The dignitaries who once graced these gala events include Tunku Abdul Rahman, Tun Abdul Razak, Lee Kuan Yew and Yusof bin Ishak.

Sporting events were also used to promote films. Premier of the movie Around the World In 80 Days in 1956 was made extra special with a cycling race held in Alor Star. It was reported that more than 1,000 spectators turned up for the event. Two years later, the organisers took the opportunity to promote air-conditioning in cinemas during the Johore-Singapore walking competition. Signs with the words 'Every stride you take means you are getting closer to a Shaw air-conditioned cinema' clearly emblazoned on them greeted participants at each water stop. In 1960, a Vespa race was organised at the Great World Amusement Park by the Singapore Vespa Club to promote the Ben Hur blockbuster movie. Spectators received car bumper stickers, records, sunshades, postcards, stamps and bookmarks during these promotional events.

I turn to a bewildered Raja as I plastic wrap the last magazine and return it to the shelf. He must have been very surprised at the way I treat his items with such tender loving care. He could not believe his eyes when I showed the value of the Majallah Filem sold on social media these days. I nearly fainted when he said he nearly brought the items to the recycling shop last year. Fortunately, he changed his mind because of the sentimental value attached to the items. I thank Raja for a most enjoyable evening and leave with a warm feeling in my heart knowing that I have helped a friend preserve his valuable heirloom.

Sailing into Hong Kong's Seafaring Past

Li Juan puts away his spy glass and grabs hold of his water container. This is the third time he has taken a drink within the hour. The noon sun is bearing down on him with all its fury and yet he has to remain steadfast. The young man turns towards the narrow path leading down the mountain but his replacement is still nowhere in sight. He takes an additional mouthful hoping that it will help dissipate his growing hunger pangs. His watch at the top of Victoria Peak began just before dawn and there was hardly any time for breakfast.

He returns his gaze to the horizon. Still nothing. 'I hope Flying Cloud arrives during my watch,' Li Juan tells himself knowing that each successful spotter gets an incentive. That extra dollar will certainly go a long way in helping his family through lean times. Then, a tiny speck appears in the distance. Li Juan quickly reaches for his telescope to get a better look. Slowly by surely a mast appears over the horizon. The young man's heart beats faster as he watches impatiently. Finally, the ship's flag comes into sight. A wide smile spreads across his face when the unmistakable Chinese dragon twining around the Scottish thistle insignia comes into sight. Without a doubt, the ship is Flying Cloud returning to Hong Kong with its precious cargo from Europe and India.

Without wasting any more valuable time, Li Juan releases the homing pigeon from its cage while saying a silent prayer for the bird to fly safely to his employer's warehouse by the harbour. In less than fifteen minutes, Li Juan spots a fast cutter going out to intercept approaching ship. The cutter has only one mission, the most important mission of all - to get the bag of letters from Europe and then make a quick turnaround to bring the valuable information back to land quietly and without raising any suspicion. The merchants privy to this privileged news can then decide to either buy more stock or sell their remaining supply. By the time Flying Cloud finally docks in Victoria Harbour, their fortunes would have already been made.

This is the most effective technique used by European trading houses to gain an upper hand in 19th century Hong Kong. News can sometimes take up to six months to arrive from Europe. European business owners or more commonly referred to as taipans make handsome profits by just getting the news a little bit earlier than the others.

The Hong Kong Maritime Museum at Central Pier 8 is the best place to learn more about how maritime trade developed during the early formative years. I start with the section highlighting the early China trade leading up to the Opium Wars. Right from the beginning, Hong Kong served as an important Chinese maritime centre due to its strategic location and deep harbour. The Tuen Mun region in the New Territories served as a port for pearl exploitation during the Tang dynasty while Lantau Island was famous for salt production up until the 10th century.

Chinese maritime influence expanded rapidly during the reign of Emperor Yongle (1360 - 1424). This period, considered the golden age of the Ming Dynasty, saw a sequence of epic voyages that began to radically change world history.

On 10 July 1405, Admiral Zheng He led a massive flotilla of 255 vessels from Nanjing on the first of what would be seven unprecedented voyages. His aim was to help affirm China's dominant geopolitical standing in the China Seas and Indian Ocean. Between 1405 to 1433, Zheng He, together with his second in command Wang Jinghong, guided the fleet to faraway places and established new relations with various coastal city states. Melaka was visited during the third voyage.

Unfortunately, this grand plan for maritime expansion came under threat after the sixth voyage. Yongle's half-hearted suspension order was enforced by his successor, Emperor Hongxi who only ruled for a year. A brief respite for the seventh and final voyage was allowed by Emperor Xuande (1425-1435) but by the time the last voyage returned, China began turning away from the sea.

Scholars speculate that there could have been many reasons for this change of mind. The Chinese court at that time was persistently plagued with disputes and power struggles. The ascendance of anti-maritime attitudes and fiscal tightening made matters worse for China's maritime sector. The Chinese change in policy served the rising European maritime expansion well. It allowed them to begin their move into the power vacuum in Asia.

The first foreigner to make his way into the region was Bartolomeu Dias who discovered a way past the treacherous Cape of Good Hope in 1488. Portuguese influence expanded further when Vasco da Gama reached Calicut, South India in 1498. Then, in just three short years, the Portuguese forces under the command of Afonso de Albuquerque took Melaka and the entire south coast of the Malay Peninsula together with it. The Portuguese aspirations in Asia did not end there. Two years later, in 1513, Portuguese explorer Jorge Álvares sailed past the Guangdong coast and hoisted the Portuguese flag on Hong Kong's Tuen Mun region.

Porcelain from southern China was exported from various seaports including Hong Kong staring from the early 15th century. Ships laden with these precious cargo were occasionally caught in violent storms and sank. There are several interesting exhibits in the museum which are displayed to resemble shipwrecks. I like the clever use of sand and barnacle encrusted storage jars to mimic scenes common to divers when exploring the ancient sunken vessels.

The series of 34 watercolour paintings provide a unique documentation of how the skilled craftsmen worked in Jingdezhen, the porcelain capital of the world. Scholars speculate that this unique artwork collection of artwork was used to explain the origin and use of porcelain to the western market. I like these paintings as they illustrate the different porcelain production stages, right from the division of labour until the time when the ready cargo is loaded onboard ships in Canton (now Guangzhou).

The Anthony and Susan Hardy Gallery features a rich collection of paintings and artefacts from the China Trade. It tells the story of the British unquenching thirst for tea and how they deviously corrected the trade imbalance by introducing opium to the Chinese. Tensions with the Guangzhou authorities started simmering in the 1820s. At that time, the British had already begun considering Hong Kong as an important naval base. By 1830, the British East India Company had about 22 vessels stationed at the north western point of the island.

Initially, British merely intended to use Hong Kong as a roadstead, an open but fairly sheltered anchorage with no port facilities. However, things began to change during the outbreak of the First Opium War in 1839. The British quickly saw Hong Kong's potential as an important military staging point to send warships and troops up the Pearl River Delta. The end of the First Opium War saw the Royal Marines hoisting the British flag at Possession Point at exactly 8 am on 26 January 1841.

The 'General Cannon' in the Pacific Basin Sea Bandits Gallery section is an important reminder of the Opium Wars. This huge piece of military equipment was once part of the impressive arsenal guarding the narrow entry point into Guangzhou called the Tiger's Mouth. It was captured during the opening battle of the First Opium War when the British attacked and overcame the forts guarding the city. After that, the 'General Cannon' was transported back to Britain and stored in the Tower of London. The Hong Kong Maritime Museum brought it back in 2010.

Fast facts
Hong Kong Maritime Museum
Central Pier No. 8, Hong Kong
Tel: +852 3713 2500
Fax: +852 2813 8033
Email: info@hkmaritimemuseum.org
Opening Hours: Monday-Friday 09:30-17:30
               Saturday, Sunday and Public Holidays 10:00-19:00
Ticket Information: HK$30 for adults, HK$15 for seniors/students, children and disabled

Remembering Jins Shamsuddin

Malaysian James Bond Passes Away

I just cannot believe my eyes when I check the news early Thursday morning. The headline reads 'SCREEN LEGEND JINS SHAMSUDDIN PASSES AWAY'. I rub my sleepy eyes in disbelieve. It is only when I see the same words again does reality set in. Almost immediately I feel emptiness in my heart. I have always idolized Tan Sri Jins Shamsiddin. To me, he stands shoulder to shoulder with the other movie heavy weights like P Ramlee, Ed Osmera and Ahmad Mahmud.

It was just the other day that I was speaking to one of the dealers at the Kampung Berjaya flea market. I have to admit I do not know his real name. He introduced himself as Haji when we met four years ago and I have stuck to that name ever since. Furthermore, everyone else calls him by that name as well. Haji and I share a common passion. We are both very much into Malay films, especially those produced between 1960s and 1970s. That is the time we consider to be the golden age of the Malay film industry.

I enjoy having coffee with Haji during his morning break. He regales me with tales of his younger days in Singapore. His father worked for Shaw Brothers and his family lived in the Jalan Ampas Staff Quarters. As a young boy, he often sneaked into the production area where his father worked as a camera man. P Ramlee, Saloma, Saadiah, Latifah Omar. The list goes on and on. Oh..and of course Jins Shamsuddin. Haji has seen them all in the thick of action.




Haji's father was a far sighted man. Apart from making films, Shaw Brothers also had their own camera crew who took photographs of the scenes during filming. Those photographs were for promotional purposes and they were discarded once the film was released. Haji's father collected and stored them carefully in boxes.

'Son, one day these photographs will be of great importance and value. Keep them now and sell them at a high price next time.' That was what Haji's father told him one evening after he came home with another bag full of photographs.

Several years ago, Haji moved from Singapore to Malaysia. Fortunately, he brought those precious photographs along as well. He settled down in Sungai Petani, Kedah and began participating in the nearby flea markets.

Several weeks back, during one of his better mood days, Haji let me in on a secret. His father not only collected discarded photographs. The shrewd man also picked up film dialogue scripts that were thrown away. But these were were mush fewer in numbers compared to the photographs. 'I remember seeing scripts with the names of the stars printed on the cover. I have P Ramlee, Jins Shamsuddin, Ed Osmera and a few others,' he confides over kopi panas. I can still remember his crestfallen face when I asked to see the books. 'Ai ya..I did not take care of them and they were damaged by white ants. Nothing left.' I nearly cried when I heard that. Those dialogue books will be priceless today if he had taken good care of them.

Over the years, I have bought quite a lot of photographs. Many of these include images from Jins' films. Among these, Gerak Kilat, Bayangan Ajal and Jurang Bahaya have the greatest impact on me. This trilogy with Jins in the starring role as the suave immaculately dressed spy, Jefri Zain, was Asia's answer to the rising James Bond craze that was sweeping the world at that time. The premier of Gerak Kilat back in 1966 saw crowds turning up in droves at cinemas throughout the country. Like me, the audience thoroughly enjoyed the suspense, state of the art gadgets and best of all the clever mix of comedy. All in all, it captured the very essence of what a good movie should have.  

I remember clearly the first time I watched Gerak Kilat. Although many of its scenes had a close resemblance to those from Dr No, the first film in the hugely popular James Bond franchise, but to me it is the laughs that matter. The villains in Gerak Kilat, numbering by the hundreds, were at most times defeated in a hilarious manner with Jefri Zain's unending arsenal of gadgets like exploding cigarettes, pen guns and acid spewing bracelets.

Gerak Kilat was so successful that Shaw Brothers decided to produce and release the other two movies in quick succession two years later in 1968. By that time, the Jefri Zain craze had taken Asia by storm. The youthful and handsome Jins at that time swept the ladies off their feet while many men inspired their barbers all over Malaysia and Singapore to give them his trademark hair style. Jins was at the pinnacle of his achievements. He, together with his stunning female co stars, dominated the front cover of nearly every film magazine for that year and the next.

Jins Shamsuddin was born in Taiping on 5 November 1935. His movie career began in earnest in the early 1950s under the tutelage of film giant Tan Sri P Ramlee. Throughout his lifetime, Jins acted in a total of 46 movies where 31 of these were produced in black and white while the rest were in colour. Jins began acting under P Ramlee in Pancha Delima which has a story line quite similar to that of Beauty and the Beast. In that 1958 film, Jins played the role of a bewitched snake that can only assume human form at night. Fate has it that he rescues a poor wood cutter and in return asks for one of his daughters. It is this beautiful damsel who helps Pancha Delima break his spell.  

Beginning his career with just supporting roles, Jins worked hard and picked up many pointers from P Ramlee. In time, he managed to convince the major movie players of his acting prowess. Then on, his career progressed rapidly, catapulting him to a series of leading roles in blockbuster movies like Sarjan Hassan (1958), Megat Terawis (1960), Si Tanggang (1961) and Neracha (1962).

Jins progressed a step further in 1969 when he gained enough confidence to start directing his own movies. In the tail end of the black and white movie era, Jins started assuming dual roles, a rare ability that few film stars possessed. He directed as well as acted in two the hugely popular films, Bukan Salah Ibu Mangandong (1969) and Di Belakang Tabir (1970).

To me, these films are especially significant because both featured P Ramlee playing supporting roles. It is said back then that is was next to impossible to get P Ramlee to act in a film that he did not directed himself. So the movie industry was pleasantly taken aback when the Malaysia's greatest film star humbled himself and agreed to act in both his protégé’s films. Perhaps P Ramlee thought that it was time he returned a favour as Jins had acted in his films for nearly 20 years.

Jins took a break after completing Di Belakang Tabir, which incidentally was his last film in black and white. We wanted to further his education. He saw this as a means to help him progress in a rapidly evolving film industry. Jins must have felt that things will never be the same again as the industry starts to embrace the technology to produce films in colour. Jins took a Diploma in Motion Picture Technology at the London Film School in 1970. He graduated two years later with first class honours.

Just two years ago, in 2015, Jins scored another first in the film industry when KRU Productions Prodigital Lab restored his highly successful Bukit Kepong from its film reel and re-released it in cinemas in digital HD format.
 Originally screened in 1981, Bukit Kepong won Jins the Best Film, Best Director and Best Actor awards in the 1982 Malaysia Film Festival. All in all, Bukit Kepong received seven awards that year.

Bukit Kepong tells of the sacrifices made by a team of police and the local villagers in a small Johor town. This heart wrenching tale is set during the time when the communist terrorist threat was at its peak in Malaya. Events in the movie finally culminated in the blood bath on 23 February 1950. Based on actual events in Malaysian history, this 2 hour long movie describes how 25 people were holed up in the Bukit Kepong Police Station. They were surrounded by 180 bandits bent on taking over the wooden building located just by the Muar River. The policemen and their families refused to surrender despite the fact that the bandits were far more superior in numbers and fire power. In the end, they chose death instead of abandoning their duties. This movie touched the hearts of Malaysians from all walks of life. It tells the story of patriotism, integrity and determination.

It is films like these that have kept my passion in movies burning strong. Over the years, I have been following Jins' silver screen career closely by collecting related materials like photographs, newspaper cuttings, film magazines as well as other memorabilia. Most of these are sourced at flea markets or through the Internet social media group postings. Among these, I like the Shaw Brothers Majallah Filem best of all. Compared to the other publications, it is far more superior both in terms of quality as well as content. Sadly, prices for these highly desirable magazines have been rising rapidly over the years and lately I can only afford to look and not buy any more.

In the political arena, Jins is known to be a strong supporter of the Alliance Party in Singapore. He was among the pioneers who sat in the UMNO pro tem committee in 1960. National archive records show that Jins is among the founding members of the Bukit Timah UMNO branch in Coronation Road. On 13 October 2004, Jins made history yet again when he became the first celebrity in the country to be elected to Malaysia's Upper House, the Dewan Negara.

Born Mohamed Zain bin Shamsuddin, our national art laureate is survived by his wife Puan Sri Halijah Abdullah and their two sons, Putera Hang Jebat and Putera Hang Nadim. He has another son, Jefri Jins from his earlier marriage with actress Rahmah Rahmat in Singapore in 1961.

The nation mourns its loss as the late Jins Shamsuddin in laid to rest in Masjid Ulu Klang. There will never be another Malaysian James Bond again. Rest in peace. You are gone but never forgotten.

Life Behind The Gilded Panel

Life behind the gilded panel

It is 6 am and most of Alor Star is still asleep. The early Friday morning air is cool and crisp. I greedily breathe in lung full of this precious commodity knowing that it will disappear once traffic picks up. I join my friends in casual banter. Our relaxed demeanor may seem deceiving. We are actually like a pack of hungry lions waiting patiently for our prey to arrive.

Distant headlights herald the arrival of the much awaited convoy. Minutes later, an endless stream of vehicles start rumbling past us. My friends and I make our move as soon as the lorries grind to a halt. The excitement in the air is electrifying. We begin helping the sellers unpack and at the same time put aside things that catch our fancy. It is this mutualistic relationship gives the weekly Kampung Berjaya flea market its unique identity.

Today, however, I am rather unsettled. My favourite seller has yet to arrive. He has never been this late. It is almost 630 am and his deserted lot sticks out like a sore thumb. I continue going through a bag of old books at a nearby stall but sadly there is nothing interesting. I starting to wonder if this is going to be an uneventful day.

Then suddenly I feel a heightened sense of urgency all around. 'Mai dah! Mai dah!' an alert middle aged lady next to me proclaims. I look up and see people starting to make a beeline for the newly arrived lorry. Phew! What a relief. Abang Jo has finally arrived. I have known Abang Jo for more than 5 years. I have bought many wonderful things from him. As a matter of fact, everyone at Kampung Berjaya adores Abang Jo. He is ethical, dependable and sells quality vintage items at reasonable prices. His stall is the clear favourite among collectors and dealers alike.

Several men enthusiastically climb up the lorry and start untying the canvas sheet. 'Sabar! Sabar! Bawa turun dulu!' Abang Jo requests for calm. The crowd goes into frenzy the moment the first bag lands on the ground. I decide to leave the chaos and walk over to Abang Jo. He greets me with a smile. His teeth yellow from years of smoking his favourite rokok daun.

He apologizes for his delay, telling me that he spent the previous night collecting things from an old house. Then his eyes light up as he suddenly remembers something. 'Mari! Ada satu kotak kayu penuh dengan barang!' he beckons me to the front of his vehicle. I whip out my torchlight. There, sitting on the passenger seat is a large wooden box. 'Tengok dulu. Harga boleh bincang. Ini memang special punya,' Abang Jo confides before leaving to attend to his other customers.

I close the door behind me quietly, glad that none of my competitors have tailed me. My heart starts to beat faster as I move closer to get a better look. Adrenaline rush! The box surface is dark from the dirt and grime accumulated over the years. The dangling antique Yale padlock must be Abang Jo's handy work when he forced it open last night. I grip my torchlight between my teeth and give my hands unrestricted freedom.

My hands tremble as I lift the cover. The box is filled with all sorts of things. I quickly sift through the contents to estimate their value. In between the stacks of envelopes, books, diaries and documents, I see a pair of beaded slippers, a small ornate jewellery box, two little baskets and a photograph of a well dressed couple. The woman's attire screams 'Nyonya'. I just cannot believe my luck! The box must hold the possessions of a Peranakan lady!

Nothing is more important to me now than to purchase the box. I quietly bring the box to Abang Jo and discuss the price. We quickly come to an agreement and the items are finally mine. I leave the crowd behind and head towards my car. I can breathe easier now.

I initially plan to leave the box in the boot and only check it when I reach home. But the urge to look at the contents is overpowering. I give in to the temptation. I lower the front passenger back rest to form a make shift platform for the box. It is already 730 am. There is sufficient light filtering in through the windows for me to see clearly.

The first thing I do is to reach for the photograph. I want to have a better look. The lady looks young, maybe in her late teens. People, especially women, got married early back in the 1920s which is the time I estimate this photograph was taken. She must be from a wealthy family judging from the amount of jewellery on her.

This is a wedding portrait taken at a photo studio. The technology at that time required the couple to remain motionless for several minutes to allow their negative to develop clearly on a glass plate. Even the slightest movement during that crucial period would blur the image. Personal cameras then were rare and expensive. This could very well be the only photograph of the couple during their big day.

A pair of ladies beaded slippers come into view after I remove the paper based items. They still look quite new despite their age and were probably worn only during the wedding ceremony. The gold and silver threads glow as they reflect the sunlight. The mythical lion or 'chilin'images on them are intricate and very life like. Could the woman in the picture have made these herself? I begin to wonder what the world was like during her era.

Most Straits Chinese girls back in the 1920s grew up in very conservative surroundings. Their world was confined to the four walls of their homes and they rarely ventured outside. The older women would discourage them from even standing outside the house, drawing comparison that only bad oranges are displayed at the shop front while the good ones are always kept inside. Harsher comparisons to prostitutes are known to have been made for the stubborn few who refuse to obey. The girl's reputation and the family's good name were paramount at that time.

Most Straits Chinese houses have at least two halls. The main hall is used to entertain visiting guests while the inner sanctum is reserved for the family. Although the women usually remain out of sight but they would occasionally peep through the heavily carved panels to eavesdrop on important matters such as their betrothals.

The only time Peranakan maidens are officially allowed outside is during Chap Goh Meh. The girls put on their best outfits and take to the streets in cars or rickshaws with an elderly female family member tagging along as chaperone. This is the only time when the prospective wooer can see the girl of his dreams. Was this the way the couple in the photograph met? Or was theirs an arranged marriage?

Nearly a century ago most nuptials were decided by parents. Birth dates were compared to ensure a match made in heaven. People at that time believed affections are secondary and would develop naturally once the couple started living together. I am just imagine the suspense when they see each other for the first time during their wedding day. This photograph could have been taken on the day they first laid eyes on each other. Amazing!

Peranakan women enjoy less restrictive lives after marriage. They get to go out more often either accompanied by their husbands or servants. Senior Peranakan ladies are free to visit relatives. Things become more relaxed by the late 1930s when Straits Chinese ladies begin to participate in social activities like croquet, tennis and even ballroom dancing.

The Great Depression and the subsequent Japanese Occupation sounded the death knell for the traditional Nyonya lifestyle. Wartime hardship became an effective teacher in humility and self reliance. The Nyonyas start to change after the Japanese surrendered. They begin to prepare for life outside the house. The retinue of servants is a thing of the past and embroidery is no longer a prerequisite for marriage. The Nyonya is preparing for the modern world.

The distant horn of an impatient driver jolts me back to reality. It is nearly 9 am now and the Kampung Berjaya market has expanded like a balloon to nearly four times its normal size. I lock my car and brave the sea of haphazardly parked motorcycles to get to the nasi lemak stall. Abang Jo deserves a treat for making my day extra special.