繁體中文
黃堯（1921年－2011年1月2日）是香港出生的粵語片導演。他祖籍廣東東莞，在香港出生及成長，姑母開設電影公司及戲院，父親則主管戲院的日常業務，可說自小與電影結緣。香港淪陷期間，他隨家人逃難至廣州灣（今湛江），隨身帶着兩部美國片拷貝，沿途把拷貝出租給戲院放映維生。戰後他在廣州從事影片發行，到解放後才重返香港，並決心投身電影圈。
黃堯最初在廈語片擔任場記，其後跟隨導演李應源學習剪接，並得到首次執導的機會，拍攝潮語片《玉釵記》（1959），由李氏出任顧問。他同時跟隨導演莫康時學習編劇，二人合導了《血手套》（1961）。之後他當上陳皮的副導演，因獲鄧碧雲丈夫雷基賞識，加盟其寶寶影業公司，獨自執導了首部粵語片《猴子兵華山救駕》（1963），並長期與鄧碧雲合作，攝製《受薪太太》（1963）、《搶閘新娘》（1964）等賣座喜劇。
1966年，他為志聯影業有限公司執導《影迷公主》及《姑娘十八一朵花》，兩片票房報捷，把陳寶珠推上年輕偶像之列，也帶動了青春歌舞片的熱潮。其後他接連導演多部由陳寶珠演出的影片，如《迷人小鳥》（1967）、《給我一個吻》（1968）；同期亦執導蕭芳芳演出的電影，包括《花月爭輝》（1969），以及由他個人公司金航電影製片公司出品的《花樣的年華》（1968）。而1967年公映的《人海奇花》則另闢蹊徑，探討人性情慾，展現他在喜劇以外的奇詭風格。
踏入六、七十年代之交，粵語片陷入低迷，擅拍粵語片的黃堯亦於1971年轉拍國語片，執導《我為妳痴迷》，並一度赴泰國攝製泰語片。七十年代末，他加入邵氏兄弟（香港）有限公司製片部，曾任《八萬罪人》（1979）、《花街時代》（1985）等片的執行製片，直至八十年代中期邵氏停止製作。《急凍奇俠》（1989）是他最後參與的電影，擔任製片經理。退休後他除參與興趣活動，亦從事義工服務，並於2011年1月2日病逝。他的兒子黃泰來亦為電影導演。
English
Wong Yiu (1921 - 2 January 2011) was a Hong Kong-born director of Cantonese films. His family came from Dongguan in Guangdong and he grew up in Hong Kong, where his aunt ran a film company and cinemas and his father managed the cinemas' business, so he was tied to the movies from childhood. When Hong Kong fell to the Japanese he fled with his family to Guangzhouwan (present-day Zhanjiang), carrying two prints of American films that he rented out to cinemas along the way to earn a living. After the war he worked in film distribution in Guangzhou and returned to Hong Kong only after 1949, determined to enter the industry.
He began as a continuity man on Amoy-dialect productions, then learned editing under director Lee Ying-yuen and was given his first chance to direct, making the Teochew-language 《玉釵記》(1959) with Lee as adviser. He also studied screenwriting under director Mok Hong-si, with whom he co-directed 《血手套》(1961). He then became assistant director to Chan Pei and, spotted by Lui Kei, the husband of Tang Bik-wan, joined Lui's Po Po Film Company, for which he directed his first Cantonese feature alone, 《猴子兵華山救駕》(1963). He worked with Tang for years, turning out popular comedies such as 《受薪太太》(1963) and 《搶閘新娘》(1964).
In 1966 his 《影迷公主》 and 《姑娘十八一朵花》, made for the Chi Luen Film Company, were box-office successes that turned Connie Chan Po-chu into a young idol and set off a boom in youth musicals. He went on to direct many more films starring Chan, among them 《迷人小鳥》(1967) and 《給我一個吻》(1968), and films starring Josephine Siao Fong-fong, including 《花月爭輝》(1969) and 《花樣的年華》(1968), the latter produced by his own Kam Hong Film Production company. His 1967 release 《人海奇花》 took a different path, probing human desire and revealing a stranger style beyond his comedies. As Cantonese cinema slumped at the turn of the 1970s, Wong, who worked mainly in that language, switched to Mandarin pictures in 1971 with 《我為妳痴迷》 and for a time shot Thai-language films in Thailand. In the late 1970s he joined the production department of Shaw Brothers (Hong Kong), serving as executive producer on films such as 《八萬罪人》(1979) and 《花街時代》(1985) until the studio ceased production in the mid-1980s. His last film work was as production manager on 《急凍奇俠》(1989). In retirement he pursued his hobbies and did volunteer service, and he died on 2 January 2011. His son, Taylor Wong Tai-loi, also became a film director.
