Movies about Woman’ s neck broken
The villainess kills her victim by breaking their neck.
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‘The Girl with a Broken Neck’
How a birth complication and a roving childhood shaped the career of a pioneering business titan in India.
When she was 25, Radhika Gupta EAS’05 W’05 left a comfortable job in finance in the US to move to India to open the country’s first hedge fund. It was a decision most people thought was crazy. “I don’t blame them,” she says with a laugh.
It was the summer of 2009, and at such a young age, she had navigated the financial crisis and was already managing $20 billion in investments at AQR Capital Management, an investment management firm based in Greenwich, Connecticut. Plus, she was the daughter of Indian parents who thought “making it” in America was the pinnacle of success. “After you survived everything in the United States, got this great education, not many parents wanted their kids to move home,” she says.
But Gupta had an entrepreneurial itch and saw India as a place where she could really make a dent in the financial sector. “India was blossoming, the economy was rolling out, markets were doing well, jobs had opened up,” she says. “Asset management was super new there, so we wanted to be part of it.” And so, Gupta and her husband Nalin Moniz EAS’05 W’05, whom she met at Penn, poured their life savings into starting Forefront Capital Management out of Mumbai, India.
For the first few years the company’s clients consisted only of “family, friends, and fools,” as Gupta put it. But by 2014 it was such a lucrative and prestigious company that it was acquired by Edelweiss Financial Services Limited, “basically the Goldman Sachs of India,” says Gupta.
Edelweiss tapped Gupta to first lead the mutual fund (she increased business more than tenfold) and then to become the chief executive officer of its subsidiary Edelweiss Asset Management in February 2017. At 34, she had become not only one of the youngest CEOs of a financial services company anywhere in the world but also one of the only women in such a role.
“When I became CEO, Edelweiss was a small asset management company with a couple hundred million of investments,” she says. “Now that number is 12.5 billion and it’s one of the fastest growing asset management companies in India.”
Gupta is no stranger to taking risks and stepping outside her comfort zone. As she put it, “I’ve always been a start-up girl.” She was born to Indian parents who were members of the service class, which meant they had a stable living but not much disposable income. Her father was a member of the Indian Foreign Service, and her family moved every three years. Before even arriving at Penn, she lived on five continents.
Gupta was born with complications in Pakistan and had to spend time as a newborn in an incubator. Because of the way the nurse placed her, her neck was left with a permanent tilt. She became known as “The Girl with a Broken Neck” after telling her story in a video that reached hundreds of thousands of YouTube viewers. The Times of India and other media outlets have since used the moniker in articles about her work.
Gupta’s disability wasn’t the only reason she felt different from other kids while growing up. “Cultural changes were super tough,” she says. “I remember moving to a school in the United States and not knowing how to speak English and then moving to India and not knowing how to speak Hindi, and then moving to Nigeria where all the kids were much wealthier than me.
“I didn’t appreciate it then, but the moving around to so many different countries every three years—drastically different countries—really shaped who I am. There is all this talk of agility and being able to deal with change in the start-up world, and I really had it.”
She was living in Rome when she applied to Penn, deciding she wanted to go there after receiving a copy of the University publication Practical Penn. Her guidance counselor made it clear it was a shot in the dark, but Gupta not only got accepted to the University but also to the exclusive Jerome Fisher Program in Management & Technology (M&T).
Gupta started her entrepreneurial journey during her sophomore year when she sold Indian food out of her High Rise East dorm room. “I would go to Fresh Grocer and buy random ingredients and cook from 8 to 10 p.m., sell from 10 to midnight, clean up, and then go to my computer science classes the next day smelling of spices,” she says, adding that she sold about 50 or 60 plates a day to a clientele comprised mostly of Indian students. “The only late-night competition at that time was pizza.”
The same year Gupta also founded the club Women in Computer Sciences (WICS), because, she says, “back then women in computer science got a lot of comments like, you are a girl, so you don’t know how to code.” Fifty women turned up to the first meeting at the Bubble Tea Room, and the club quickly secured sponsorship from companies including Google. Gupta then created formal mentorship programs and planned outings to tech campuses like Microsoft and Google.
When Gupta returned to campus in March to accept the inaugural Jerome Fisher Program in Management & Technology Distinguished Alumni Award [“Notes,” May|Jun 2023], she was thrilled to see that WICS still exists today, with sponsors that include Bloomberg.
Once she left Penn, Gupta had to find creative paths to accomplish what she wanted. Before graduating, she says she was turned down by seven consulting firms before winning over a McKinsey representative by bonding over playing bridge. (Her parents couldn’t afford other hobbies like horseback riding or tennis when she was growing up, so they gave her a deck of cards.)
When Gupta started Forefront Capital Management, she struggled to win over clients. “We were all 24 or 25, and asset management is an industry where gray hairs are a premium,” she says. “We were all investment guys and gals who had no experience with raising money and finding clients. We had to do all that from scratch.”
Also, with no budget for advertisements, she started cozying up to journalists, convincing them to let her write blog posts on investing and appear on public television where she gave stock tips. “I was on TV almost four days a week at one stage,” she says. “People liked me on TV.”
She also got an edge from listening to customers and getting to know what they wanted and needed, recalling one day when she ran around Mumbai trying to find a notary for one client. It’s a method she still employs. “If anyone writes a customer complaint, I am still the one to handle it,” she says. “We have a million customers, and I still do that. I want to keep in touch.”
Even with all her success, Gupta sometimes still can’t believe she took such a big risk in her mid-20s—and how far she’s come since. “I did it by not giving up,” she says.
Movies about Woman’ s neck broken
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Ann Hui’s Ah Kam, starring Michelle Yeoh and Sammo Hung, and the accident Yeoh suffered on set that left director fearing she had broken her neck
- Ann Hui’s 1996 film Ah Kam, starring Michelle Yeoh as a stuntwoman and Sammo Hung as her boss, was overshadowed by a serious on-set injury Yeoh suffered
- Looked at now, its mix of realistic drama about martial arts filmmaking, melodrama, and triad action – resisted at the time – doesn’t seem out of the ordinary
Published: 4:15am, 19 Nov, 2023
Kdy v roce 1996 Ach Kam came out, it was regarded as an anomaly by audiences.
The way it mixed realistic drama, melodrama and triad action was unusual, and the film was overshadowed by a serious accident that occurred, somewhat ironically, while its star Michelle Yeoh was performing what was considered to be a straightforward stunt.
Ale Ah Kam, which was directed by Ann Hui On-wah , has weathered well, and 27 years later its experimental touches do not seem out of the ordinary.
What is more, Hui’s accurate “behind the scenes” look at the making of the costumed martial arts films which dominated Hong Kong cinema in the early 1990s remains fascinating.
“Hui has never tied herself to a certain style or specific genres – she moves nimbly between personal drama, horror, thrillers and more,” Tim Youngs, editor of the book The Television Works of Ann Hui, tells the Post.
«Ach Kam exemplifies not just how she jumps between totally different screen stories, but also how they can come together in a single picture.”
The film unspools in three parts. The first section is a close-up, realistic look at martial arts choreography in the 1990s.
Don’t call me gweilo: how Michael Wong got his break in Michelle Yeoh film
Ah Kam (Yeoh) is a stuntwoman who joins a stunt team led by Tung ( Sammo Hung Kam-bo , who plays a version of his real-life self). Tung notices Ah Kam’s talent, and Hui takes us through the problems she encounters, and the stunts she performs, as she rises through the ranks.
The second part shows how Ah Kam leaves the stunt world to manage a bar in Shenzhen run by a new boyfriend.
The third, less successful, section plays out like a 1990s triad drama. Tung is killed by triads and his young son is kidnapped, so Ah Kam must use her martial arts skills to rescue him.
It was Yeoh’s idea to make a film about a stuntwoman.
The actress, who always tried to do as many stunts as she could, was part of the stunt world and she wanted to pay tribute to her stuntman colleagues, whose contribution to Hong Kong cinema she felt had been ignored.
Yeoh discussed the film with producer Catherine Hun and then talked Hui into directing it.
Elegies: Ann Hui documentary on poets is her subtle lament for Hong Kong
“You reach a stage in your career where you want it to mean something when you make something new,” she told the Post in 1996.
“The closest thing to me in my whole career has been the stunt people. They were literally the ones who took it to their hearts to teach me this form of movement.”
“The audience appreciates the actors, and they do work very hard and go through a lot of pain. But the stunt people and the co-ordinators who make it all happen are the unsung heroes,” she said.
Hui, who had made her own martial arts films, Romance knihy a meče a Princezna vůně, aimed to keep the behind-the-scenes elements of the film realistic. The films-within-a-film are mainly period martial arts dramas, so there is a heavy focus on the wirework, a technique which makes the characters look like they are flying.
Off set, violent interference by triad gangsters drives the drama. The triads were heavily involved in film production in the early 1990s, as it was a lucrative business.
In the film, one film producer is even shot dead by triads, a probable reference to the real-life murder of Choi Chi-ming , a producer and business partner of Jet Li Lianjie who was killed by triads in 1992.
Proč rané hollywoodské dny Michelle Yeoh většinou přinesly slávu, ale žádné bohatství
“I’m very satisfied with the behind-the-scenes stuff,” Hui told this journalist in 1996. “I filmed the crew as they were working as if I was making a documentary. So it’s real. We’re not showing entertainment that is not there.
“I know a lot of stunt people. I have always been interested in them – as far back as 1975, I made a television documentary about how stunts are done in Hong Kong,” she said.
Although Sammo Hung stars in the film, Tony Ching Siu-tung did the fight and stunt choreography. It is fun to watch Hung direct the action in someone else’s style.
Ching was behind much of the wirework, flying and explosions that dominated martial arts films in the 1990s, whereas Hung has a more grounded approach which focuses on real kung fu styles.
Hung did, however, choreograph a realistic fight in which his stunt team saw off some triads. “He’s such a pro,” Hui said. “When he did that scene, I wasn’t very satisfied – I told him it was too simple. He simply retorted, ‘Well, your film isn’t a kung fu film, is it?’”
The movie’s original release was overshadowed by Yeoh’s accident. In the film, Tung (Hung) asks Ah Kam to jump from a bridge onto a moving truck. She is nervous, so he shoves her. Tung is not satisfied with the shot and asks her to do it again, and she completes it successfully.
In reality, Yeoh fell awkwardly onto the boxes that were used to break her fall and seriously injured herself. Yeoh told the Post’s Winnie Chung that she heard a snapping sound and felt her feet fold up under her “like two pieces of wood snapping together”.
“I thought, ‘This is it,’ especially when you hear the sound resounding throughout your entire body,” she said. “That was a very nasty moment. There was so much pain that you can’t think of what the repercussions are.”
“The stunt should not have been dangerous, but she hurt herself very badly,” Hui told this journalist in 1996. “She landed on her head, and she should have landed on her back. She went vertically into a pile of boxes. At first, we feared that she had broken her neck.”
Yeoh has said the accident happened because she became distracted, but Hui said it might have been because the shoot was rushed.
When Everything Everywhere’s Michelle Yeoh was Hong Kong’s action queen
“It wasn’t an unsafe stunt, but we were very hurried,” she recalled. “These things must be done with a lot of care. Usually, that scene – which involved a hideous amount of wires – would take a day to shoot, but we had to do it quicker. Everybody was tired, everyone was hurrying like mad.”
Yeoh recovered after some time spent in a body cast in hospital. Footage of the accident is appended to the end of the film, similar to the way that Jackie Chan ’s near-fatal fall in projekt je ukázáno.
It is not a gratuitous move, Hui noted. “The film’s story is progressively going into unreality, so I felt we should put something real at the end,” she said.
Hui was not entirely happy with the finished film, noting that the triad section seemed out of place with the rest. The crew had complained about her first edit, saying that section looked like a different movie.
“My experiment had failed miserably,” she said, so she recut those scenes to make them look more realistic.
“The film’s up-close look at 1990s filmmaking nitty gritty is valuable today, but Yeoh’s accident hangs over the whole film,” Youngs says. “It’s easy to wonder how many of Ah Kam’s weaker scenes were quickly born out of necessity after the injury.”
V tomto pravidelném celovečerním seriálu o tom nejlepším z hongkongské kinematografie zkoumáme dědictví klasických filmů, přehodnocujeme kariéry jejich největších hvězd a znovu se vracíme k některým méně známým aspektům milovaného průmyslu.
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