The following year, she played in two Mandarin-language productions for the MP&GI studio: as a widow's daughter in Yue Feng's melodrama For Better, For Worse, and as a young boy in Tao Qin's comedy The Scout Master.

She also joined the Sin-Hok Kong-luen Film Company's stable of young stars – which included Suet Nei, Nancy Sit Ka-yin, and Kenneth Tsang Kong – and took part in director Chan Lit-ban's ground-breaking adaptations of Jin Yong's serialised novels The Golden Hairpin (1963–64) and The Snowflake Sword (1964).

Capitalizing on their chemistry, veteran director Lee Tit gave them the lead roles in Eternal Love, his remake of a popular opera from the 1950s.

Even more successful was Chan Wan's Colourful Youth, which became the box office champ of the year and set the trend for Western-style musicals in Cantonese cinema.

From then on, Connie and Josephine appeared increasingly in films with contemporary settings, but less frequently in each other's company; both were paired off with a variety of leading men in a profusion of comedies, musicals, romances, and action movies.

Movie-Fan Princess was a prototype combo of all four genres, and more significantly, was the beginning of Connie's four-year on-screen romance with her most popular leading man, Lui Kei.

Then, there was Lady Bond, Cantonese cinema's answer to 007, which spawned three sequels and fueled the transition from traditional wuxia pictures to contemporary action movies.

After Sentimental Journey, Connie starred alongside Tony Leung Ka-Fai and Carina Lau in the stage play Red Boat, which ran for 64 performances.