At a time when Hong Kong ghost stories entailed cheesy dry ice effects and flying somersaults, Rouge recast these tired conventions into a poignant, touching work that artfully mixed realism with fantasy and tradition with modernity. Stanley Kwan used an inventive double storyline that switches between Hong Kong in the 1930s and Hong Kong in 1980s to explore themes of identity, history, and narrative. The two Hong Kongs are seen as both visually and culturally irreconcilable. The city of the 1930s is beautifully decadent yet hidebound to tradition, romantic yet cruel, while the Hong Kong of the 1980s is portrayed as neon-drenched, fast-paced, and empty. Their only common denominator is the presence of Fleur, a fading ghost from a more opulent era. Context and style aside, Rouge is a compelling, touching film that proved to be one of Hong Kong's most financially and artistically successful films. Pop star Anita Mui rocketed to film fame on the strength of her sensitive, modulated performance, while Leslie Cheung solidified his claim as one of Hong Kong's foremost leading men. Yet it was Kwan's masterful control of tone and mood that seemed to strike a chord with domestic audiences. Rouge was made after Britain announced that it would hand over Hong Kong to mainland China, and the film's popularity perhaps spoke to a desire to make sense of the past to gain a greater understanding of Hong Kong's uncertain future.