In 1998, the movie Flower of Shanghai directed by Hou, Siao-Sian with script-writer of Chu, Tien-Wen was initially released. The movie was adapted from the book of ”Legends of Flower of Shanghai” by Hang, Bang-Qing (later annotated by Eileen Chang as ”Mandarin Flower of Shanghai”). Chu, Tien-Wen has, in several occasions, quoted from the viewpoint of Eileen Chang to discuss figures from the move in ”Consummation of Fantasy-Record of Movie-Flower of Shanghai,” and she has also used the work by Eileen Chang for summation at the end of the movie. As such, we can tell that the movie has comprehensively brought into the viewpoint of Eileen Chang for adaptation strategy. As a matter of fact, the movie Flower of Shanghai is based on ”Mandarin-Legends of Flower of Shanghai” by Eileen Chang as the foundation for the script. Several feminine roles appeared to be the foci in the movie, including Sheng, Xiao-Hung, Zhou, Shuang-Zhu, and Huang, Cui-Feng. Nonetheless, for adaptation strategy for the movie it is suspicious if the selection of those above-mentioned figures can have met the human vision to be desired for conveyance by the original writer? Or if the movie adaptation is not to be conducted in mere stereotype, but rather it would like to demonstrate itself with image creation and re-structure the prosperity and feminine sketch of the fin de siecle at Shanghai concession during 19th century. Can the film Flower of Shanghai jointly created by Hou, Siao-Sian and Chu, Tien-Wen have illustrated the possibility of the other kind? This article would like to exploit Flower of Shanghai as its subject of investigation, and compare the differences between the movie and the original work, attempting to clarify the connotation of each of the above-mentioned problems.