Veteran Actor Liu Xun, Known for ‘Hail the Judge,’ Dies at 86
Veteran Chinese actor Liu Xun, the celebrated character actor affectionately known as the “Thousand-Faced Tathagata” for his extraordinary versatility, passed away on May 29, 2026, at the age of 86. The news was confirmed by fellow actor Law Kar-ying in a heartfelt Weibo tribute on May 30, as reported by The Paper.
A Life Bridging Two Worlds
Born in Beijing in 1939, Liu Xun trained in Peking opera under masters Li Wanchun and Li Shaochun before moving to Hong Kong in the 1980s, where he devoted himself to Cantonese opera education. He taught for many years at the Hong Kong Academy for Performing Arts, training generations of Cantonese opera performers and earning an Honorary Fellowship from the institution.
According to Yangtse Evening News, Law Kar-ying wrote in his tribute: “Senior fellow apprentice Liu Xun has passed away, aged 87.” Law added that “the artistic achievements of my later life are inseparable from Liu Xun’s teachings,” underscoring the deep mentorship that defined their relationship.
The Late Bloomer Who Became a Legend
Liu Xun did not begin his film career until age 47, when he was discovered by renowned director Tsui Hark. Despite his late start, his deep foundation in traditional opera gave him extraordinary physical presence and facial expression control, making him one of the most memorable character actors in Hong Kong cinema.
His breakout role came in 1990 as the eunuch Gu Jinfu in “Swordsman II” (笑傲江湖), a performance that earned him a Golden Horse Award nomination for Best Supporting Actor. He went on to appear in a string of Hong Kong classics, including “Once Upon a Time in China” (where he played Wong Fei-hung’s father Wong Kei-ying), “The East Is Red” (新龙门客栈), and “A Chinese Ghost Story II.”
The Art of the Villain
Liu Xun possessed a rare gift for playing villains who were both terrifying and captivating. His portrayals of Ming dynasty eunuchs — with their half-smiles and bone-deep malevolence — became the gold standard for period反派 (villain) roles in Hong Kong cinema. In “The East Is Red” and “Swordsman II,” his characters exuded a chilling authority that made them unforgettable, even when sharing the screen with stars like Jet Li and Brigitte Lin.
What set Liu Xun apart was his ability to transform completely with or without facial hair. As one popular saying among Chinese film fans goes, he was “benevolent with a beard, sinister without one.” This physical mastery, honed through decades of opera training, allowed him to switch between virtuous patriarchs and scheming court officials with breathtaking ease.
The Iconic Role That Defined a Generation
For younger audiences, Liu Xun is best remembered as Eunuch Li Lianying in Stephen Chow’s 1994 comedy “Hail the Judge” (九品芝麻官). The film’s climactic courtroom scene, featuring a rapid-fire verbal duel between Liu Xun’s imperious eunuch and Chow’s character Bao Longxing, has become legendary. The line “你好大的官威呀，包大人” (“What great official authority you have, Lord Bao”) remains a widely used internet meme in Chinese-speaking communities nearly 32 years after the film’s release.
As 21st Century Business Herald noted, fans often remarked that Liu Xun “with a beard is kind and benevolent; without a beard, he is sinister and cunning.” This ability to seamlessly transition between virtuous heroes and chilling villains earned him the nickname “Thousand-Faced Tathagata” (千面如来).
A Legacy of Mentorship and Mastery
Law Kar-ying’s tribute, published by Phoenix News, captured the depth of loss felt across the industry: “His passing means one fewer master of the older generation of Peking opera. Hong Kong Cantonese opera has benefited greatly from him. I will always miss him. Teacher Liu, I am very sad. I was still thinking about having tea and meals with you, but unfortunately, heaven did not give me the chance.”
A Bridge Between Traditions
Liu Xun’s life and career represented a unique bridge between traditional Chinese opera and modern Hong Kong cinema. He was a rare figure who mastered both Peking and Cantonese opera, and his teaching at the Hong Kong Academy for Performing Arts ensured that his knowledge would pass to future generations.
Netizens flooded social media with tributes, with one commenter calling him “the ceiling of Hong Kong cinema” and another noting that “for the development of Cantonese opera and for playing Ming and Qing dynasty eunuchs and officials in film, no one could surpass him.”
Analysis: The End of an Era
Liu Xun’s passing marks more than the loss of a beloved actor — it represents the fading of a generation that bridged classical Chinese performance art with the golden age of Hong Kong cinema. Unlike many of his contemporaries who began acting young, Liu Xun’s path from opera teacher to screen legend at age 47 is an inspiring story of artistic reinvention. His success proved that the rigorous discipline of traditional opera could translate powerfully to the screen, creating performances of rare depth and nuance.
The outpouring of grief across Chinese social media — from casual fans who knew him only from “Hail the Judge” memes to serious cinephiles who appreciated his full body of work — speaks to his unique place in popular culture. His line “你好大的官威呀” has transcended its original context to become part of everyday internet vernacular, a testament to the enduring power of his craft.
What’s Next
The exact cause of death has not been publicly disclosed, and funeral arrangements have yet to be announced. No official statement from the Hong Kong Academy for Performing Arts has been released at this time. Liu Xun leaves behind a body of work that spans decades and a legacy that bridges two of China’s great performance traditions. For fans of Hong Kong cinema, his passing is a poignant reminder of a golden era that continues to recede into memory.