Farewell My Concubine (film) explained

Farewell My Concubine
Native Name:
Child:yes
T:霸王別姬
S:霸王别姬
P:Bà Wáng Bié Jī
L:The Hegemon-King Bids Farewell to His Concubine
Director:Chen Kaige
Screenplay:Lu Wei
Lilian Lee
Based On: rewritten from Qiuhaitang (秋海棠) by Qin Shouou
Producer:Hsu Feng
Starring:
Cinematography:Gu Changwei
Editing:Pei Xiaonan
Music:Zhao Jiping
Studio:
  • Beijing Film Studio
  • China Film Co-Production Corporation
  • Tomson Films
  • Maverick Picture Company
Runtime:171 minutes
Country:China
Language:Mandarin
Budget:$4 million[1]
Gross:Over $30 million (Worldwide)[2]

Farewell My Concubine is a 1993 Chinese-Hong Kong epic historical drama film directed by Chen Kaige, starring Leslie Cheung, Gong Li and Zhang Fengyi. Adapted for the screen by Lu Wei, based on the novel by Lilian Lee, the film is set in the politically tumultuous 20th-century China, from the early days of the Republic of China to the aftermath of the Cultural Revolution. It chronicles the troubled relationships amongst two lifelong friends, the Peking opera actors Cheng Dieyi (Cheung) and Duan Xiaolou (Zhang), and Xiaolou's wife Juxian (Gong).

The film's themes include confusion of identity and blurred lines between real life and the stage, portrayed by the revered opera actor Dieyi, whose unrequited love for Xiaolou persists throughout. Commentators also noted themes of political and societal disturbances in 20th-century China, which is typical of the Chinese Fifth Generation cinema.

Farewell My Concubine premiered on 1 January 1993, in Hong Kong. Upon release the film received generally positive reviews from contemporary critics, and jointly won the Palme d'Or at the 1993 Cannes Film Festival, becoming the first Chinese-language film to achieve the honour. It won further accolades, including a Golden Globe for Best Foreign Language Film and a BAFTA for Best Film Not in the English Language, and received two nominations at the 66th Academy Awards for Best Cinematography and Best Foreign Language Film.

A few weeks following its China release, the politburo demanded changes to be made to the film due to themes against traditional values and political reasons. While allowing a premiere in Beijing, the government objected to the representation of homosexuality, the suicide of a leading character and a description of the turmoil during the 1960s.[3]

The film was allowed to resume public showings in September 1993, less than a year after its original release. Upon its return the Chinese censors had made numerous cuts, removing 14 minutes. Chinese officials felt that a re-release, as opposed to maintaining a full ban, would silence an ever-growing international backlash and also help their bid to host the Olympic Games in Beijing in 2000.[4] [5]

Farewell My Concubine is considered one of the landmark films of the Fifth Generation movement that brought Chinese film directors to world attention. In 2005, the film was selected as one of the "100 Best Films in Global History" by Time magazine.

Plot

A young boy, Douzi, is abandoned by his prostitute mother to a Peking opera troupe supervised by Master Guan. There, Douzi befriends another boy about his age, Shitou.

A teenage Douzi is trained to play dan (female heroine roles), while Shitou learns jing (male hero roles). When practicing the play "Dreaming of the World Outside the Nunnery", Douzi misstates the line "I am by nature a girl, not a boy" with "I am by nature a boy, not a girl," for which he receives severe physical punishment. Douzi and another student, Laizi, attempt to run away, but Douzi decides to pursue acting seriously after witnessing an opera performance. Upon returning, they find the whole troupe being punished for their desertion, and Douzi is beaten. As a result, Laizi hangs himself.

An agent who provides funding for opera plays comes to the troupe to seek potential actors. When Douzi repeats the same mistake in front of the agent, Shitou commands him to start over. Douzi finally delivers the entire monologue successfully and secures the agent. The troupe is invited to perform for eunuch Zhang. Shitou and Douzi are brought to Zhang's house where they find a finely crafted sword, which Shitou promises to one day gift to Douzi, as the hero would do for his concubine. Zhang asks to meet Douzi in his room and sexually assaults him. Shitou implicitly knows what happened although Douzi does not speak of the assault. On their way home, Douzi rescues an abandoned baby, who later comes under Master Guan's training.

Years later, Douzi and Shitou have become Peking opera stars, taking the names Cheng Dieyi and Duan Xiaolou, respectively. Their signature performance is the play Farewell My Concubine, where Cheng Dieyi plays Consort Yu and Duan Xiaolou plays the hero Xiang Yu. Their fame attracts the attention of Yuan Shiqing, a reputable person who attends their performances. Yuan Shiqing has come to possess the sword which was once in Eunuch Zhang's house and gifts the sword to Dieyi. The adult Cheng Dieyi is in love with Duan Xiaolou; when Xiaolou marries Juxian, a headstrong courtesan at an upscale brothel, Dieyi and Xiaolou's relationship begins to fall apart. The love triangle between Dieyi, Xiaolou, and Juxian leads to jealousy and betrayal, which is further complicated by the successive political upheavals following the Second Sino-Japanese War. When Master Guan dies, the abandoned baby, now Xiao Si, comes under Dieyi's training to continue learning dan roles.

When the communist forces win the civil war, Xiao Si becomes an avid follower of the new government. Dieyi's addiction to opium negatively affects his performances, but he ultimately rehabilitates with the help of Xiaolou and Juxian. Xiao Si nurtures resentment against Dieyi because of his rigorous teachings and usurps his role in Farewell My Concubine during one performance, without anyone telling Dieyi beforehand. Devastated by the betrayal, Dieyi secludes himself and refuses to reconcile with Xiaolou. As the Cultural Revolution continues, the entire opera troupe is put on a struggle session by the Red Guards where, under pressure, Dieyi and Xiaolou accuse each other of counterrevolutionary acts. Dieyi also tells the guards that Juxian was a prostitute. To protect himself from further prosecution, Xiaolou swears that he does not love her and will "make a clean break" with her. Juxian is heartbroken and returns the sword to Dieyi before committing suicide. Afterward, Xiao Si is caught by the Red Guards when he is singing Consort Yu's lines to the mirror alone in a practice room.

In 1977, Dieyi and Xiaolou reunite, seeming to have mended their relationship. They once again practice Farewell My Concubine. During a break, Xiaolou begins reciting the line "I am by nature a boy," to which Dieyi makes the same mistake of finishing with "I am not a girl." The film ends with both of them finishing the rehearsal, but Dieyi takes Xiaolou's sword and cuts his own throat, paralleling the concubine's final act in the opera.

Cast

Actor Character
Leslie CheungCheng Dieyi (程蝶衣, Pinyin: Chéng Diéyī) / Douzi (小豆子, Pinyin: Xiǎo Dòuzi)
Yin ZhiCheng Dieyi (teenager)
Ma MingweiCheng Dieyi (child)
Zhang FengyiDuan Xiaolou (Chinese: 段晓楼) / Xiaoshitou (Chinese: 小石头)
Zhao HailongDuan Xiaolou (teenager)
Fei YangDuan Xiaolou (child)
Gong LiJuxian (菊仙 Júxiān)
Ge YouYuan Shiqing (袁世卿 Yuán Shìqīng)
Lü QiMaster Guan (Simplified: 关师傅, Traditional: 關師傅, Pinyin: Guān Shīfu)
Ying DaNa Kun (那坤 Nā Kūn)
YidiEunuch Zhang (Simplified: 张公公, Traditional: 張公公, Pinyin: Zhāng Gōnggong)
Zhi YitongSaburo Aoki (青木 三郎, Chinese Pinyin: Qīngmù Sānláng, Japanese: Aoki Saburō)
Lei HanXiaosi
Li ChunXiaosi (teenager)
Li DanLaizi (Simplified: 小癞子, Traditional: 小癩子, Pinyin: Xiǎo Làizǐ)
Yang YongchaoLaizi (child)
Jiang WenliMother of Xiaodouzi
Red Guard (Simplified: 红卫兵, Traditional: 紅衛兵, Pinyin: Hóngwèibīng)

Production

Chen Kaige was first given a copy of Lilian Lee's novel in 1988, and although Chen found the story of the novel to be "compelling", he found the emotional subtext of the novel "a bit thin". After meeting with Lee, they recruited Chinese writer Lu Wei for the screenplay, and in 1991 the first draft of the screenplay came about. The director chose the heroic suicide of Dieyi over the original story's banality in order to present the "Lie nu" image of Dieyi, to emphasize the women's liberation which was commonly found in the Fifth Generation films.[6]

Jackie Chan was originally considered for the role of Cheng Dieyi, but he declined the offer. John Lone later lobbied for the role but failed to progress past contractual negotiations with producer Hsu Feng.[7]

Hong Kong actor Leslie Cheung was used in the film to attract audiences because melodramas were not a popular genre. It was believed that it was the first film where Cheung spoke Mandarin Chinese. However, for most of the movie Cheung's voice is dubbed by Beijing actor Yang Lixin. Director Chen left Cheung's original voice in two scenes, where Cheung's voice is distorted by physical and mental distress.[8] Due to Gong Li's international stardom, she was cast as one of the main characters in the film.[6]

Historical background

The historical background of the film is multi-layered and complicated, which contributes to the motif and the form of the film.[9] The 1990s period saw China trying to improve country's image after controversial protests that students, workers, and foreign government agency involved. David Shambaugh talks about the government's new agenda that focused on "restoring the appearance of unity in the leadership, ensuring the loyalty of the military, reestablishing social order, reasserting central control over the provinces, recentralizing and retrenching the economy, and redefining China's role in a post-Cold War international environment".[10] In addition to the mentioned changes in the political climate, at the time of the film's release, the atmosphere around the criticism of Cultural Revolution shifted. As Luo Hui notes "criticizing the Cultural Revolution had become permissible, even fashionable", allowing the film to highlight the devastation in the world of art, as well as other aspects of Chinese society like medicine and education, suffered at the hands of the Cultural Revolution movement.[11]

Release

Release in China

The film premiered in Shanghai in July 1993 but was removed from theatres after two weeks for further censorial review, and subsequently banned in August. Because the film won the Palme d'Or at the 1993 Cannes Film Festival, the ban was met with international outcry.[12] Feeling that there was "no choice" and fearing the ban hurt China's bid for the 2000 Summer Olympics, officials allowed the film to resume public showings in September. This release was censored; scenes dealing with the Cultural Revolution and homosexuality were cut, and the final scene was revised to "soften the blow of the suicide".[13]

Box office and reception

The film was released to three theaters on 15 October 1993, and grossed $69,408 in the opening weekend. Its final grossing in the US market is $5,216,888.[14]

In 2005, some 25,000 Hong Kong film-enthusiasts voted it their favorite Chinese-language film of the century (the second was Wong Kar-wai's Days of Being Wild).[15]

International audience

The international perspective was put into question by critics who are concerned that the film's visual and artistic settings are too culturally inherent. On the other hand, the contents are internationally applicable. The enriching contexts, symbols and political icons are turned into colorful Oriental spectacles that arouse Westerner's fantasies. China's image is used as an object of signification, a cultural exhibition on display and a major selling point. Thus, they charge the film for dancing to the tunes set forth by the Western cultural imaginary about China.[6]

Some critics point to the fact that Chen had engineered the film to fit domestic and international audiences' taste, as Chen understands the international audience's perceptions and attitudes towards Chinese history, and sexuality.[16]

Miramax edited version

At Cannes, the film was awarded the highest prize, the Palme d'Or.[17] Miramax Films mogul Harvey Weinstein purchased distribution rights and removed fourteen minutes, resulting in a 157-minute cut. This is the version seen theatrically in the United States and United Kingdom.

According to Peter Biskind's book, Down and Dirty Pictures: Miramax, Sundance and the Rise of Independent Film, Louis Malle, Cannes jury president that year, said: "The film we admired so much in Cannes is not the film seen in this country [the U.S.], which is twenty minutes shorter – but seems longer because it doesn't make any sense. It was better before those guys made cuts."

The uncut 171-minute version has been released by Miramax on DVD.

4K re-release

In the fall of 2023, distributer Film Movement released the 4K restoration of the film theatrically in celebration of its 30th anniversary. It was the first time the uncut version was released in North American theaters.[18]

The Criterion Collection later announced a 4K Ultra HD/Blu-ray package for a July 2024 release.[19]

Music and soundtrack

Song TypeNamecomposerlyricssinger
Theme songBygone LoveJonathan LeeJonathan LeeOriginal Singer: Sandy Lam; Jonathan Lee
MV Director: Xueer Qu
  • Leslie Cheung covered the theme song "When Love Has Gone" in 1995.
EpisodeDon't get itJonathan LeeLin HuangJonathan Lee
MV Director: Kaige Chen
  • "Don't get it" does not appear in this film, but is only included in "Farewell My Concubine Movie Soundtrack".
EpisodeOde to the MotherlandXin WangXin Wang
EpisodeMarch of Chinese PLALvchen ZhengMu Gong
EpisodeSailing the Seas Depends on the HelmsmanShuangyin WangYuwen Li

Reception

Critical reception

Roger Ebert awarded the film four stars, praising the plot as "almost unbelievably ambitious" and executed with "freedom and energy".[20] The New York Times critic Vincent Canby hailed it for "action, history, exotic color", positively reviewing the acting of Gong Li, Leslie Cheung and Zhang Fengyi.[21] In New York, David Denby criticized the "spectacle" but felt it would be worthy of excelling in international cinema, portraying a triumph of love and culture despite dark moments.[22] Hal Hinson, writing for The Washington Post, highlighted "its swooning infatuation with the theater- with its colors, its vitality and even its cruel rigors".[23] Desson Howe for the same publication was less positive, writing that the first half had impact but gives way to "novel-like meandering", with less point.[24]

The film was included in The New York Timess list of The Best 1000 Movies Ever Made in 2004[25] and Times list of Best Movies of All Time in 2005.[26] It was ranked  97 in Empire magazine's "The 100 Best Films Of World Cinema" in 2010,[27] and No. 1 in Time Outs "100 Best Mainland Chinese Films" feature in 2014.[28] The film has a 90% approval rating on Rotten Tomatoes based on 52 reviews, with an average rating of 7.80/10. The critics consensus reads, "Chen Kaing's epic is grand in scope and presentation, and, bolstered by solid performances, the result is a film both horrifying and enthralling."[29] The BBC placed the film at number 12 on its 2018 list of the 100 greatest foreign language films.[30] It ranked at number 55 on the Hong Kong Film Awards Association (HKFAA)'s list of the Best 100 Chinese-Language Motion Pictures in 2005.[31] The public ranked Farewell My Concubine atop a 2005 poll of the most beloved films in Hong Kong conducted by Handerson ArtReach.[32]

Year-end lists

Accolades

At the Cannes Film Festival, the film tied for the Palme d'Or with Jane Campion's The Piano from New Zealand.[24] Farewell My Concubine is the first, and as of 2023 remains the only, Chinese-language film to win the Palme d'Or at Cannes.[35]

YearAwardCategoryRecipient(s)Result
1993Boston Society of Film CriticsBest Foreign Language FilmChen Kaige[36]
1993CamerimageSilver FrogGu Changwei[37]
1993Cannes Film FestivalPalme d'OrChen Kaige
FIPRESCI Prize
1993Los Angeles Film Critics AssociationBest Foreign Language FilmChen Kaige[38]
1993National Board of ReviewBest Foreign Language FilmChen Kaige[39]
Top Foreign Language Films
1993New York Film Critics CircleBest Foreign Language FilmChen Kaige[40]
Best Supporting ActressLi Gong
1994Academy AwardsBest Foreign Language FilmChen Kaige[41]
Best CinematographyGu Changwei
1994British Academy Film AwardsBest Film not in the English LanguageHsu Feng, Chen Kaige[42]
1994César AwardsBest Foreign FilmChen Kaige[43]
1994Golden Globe AwardsBest Foreign Language FilmChen Kaige[44]
1994London Film Critics' CircleBest Foreign Language FilmChen Kaige
1994Mainichi Film AwardsBest Foreign Language FilmChen Kaige[45]

See also

References

Citations

Further reading

External links

Notes and References

  1. Web site: Elley . Derek . 1993-05-20 . Farewell to My Concubine . 2024-07-08 . Variety . en-US.
  2. Book: The Hollywood Reporter . 1994 . Wilkerson Daily Corporation . en.
  3. News: Kristof . Nicholas D. . 4 August 1993 . China Bans One of Its Own Films; Cannes Festival Gave It Top Prize . en-US . . 2 April 2022 . 0362-4331.
  4. Web site: Who Makes the Rules in Chinese Movies?. The New York Times. 16 October 1993. 2 December 2019.
  5. Web site: China bids 'Farewell' to ban. 3 September 1993. Variety. 2 December 2019.
  6. Lau . Jenny Kwok Wah . "Farewell My Concubine": History, Melodrama, and Ideology in Contemporary Pan-Chinese Cinema . Film Quarterly . 49 . 1 . 16–27 . 1995 . 0015-1386 . 1213489 . 10.1525/fq.1995.49.1.04a00030.
  7. Web site: Cheung, the concubine, tiptoes past the censors . South China Morning Post . 1 January 1993 . 19 August 2021.
  8. Book: Wang, Yiman . Remaking Chinese cinema: through the prism of Shanghai, Hong Kong, and Hollywood . 2013 . University of Hawaiʻi Press . 978-0-8248-7117-8 . 986628712.
  9. Ying. Liang. Making the Familiar Strange and the Strange Familiar-Farewell, My Concubine and Its Crossing National Borders. US-China Foreign Language. 9. 530–538.
  10. Shambaugh. David. 1991-01-01. China in 1990: The Year of Damage Control. Asian Survey. 31. 1. 36–49. 10.2307/2645183. 2645183. 0004-4687.
  11. Hui. Luo.. 2007. Theatricality and Cultural Critique in Chinese Cinema. Asian Theatre Journal. 25. 1. 122–137. 10.1353/atj.2008.0010. 163055431. 1527-2109.
  12. News: Kristof . Nicholas D. . China Bans One of Its Own Films; Cannes Festival Gave It Top Prize . The New York Times . 4 August 1993 . 14 June 2017 . 0362-4331.
  13. News: Tyler . Patrick E. . China's Censors Issue a Warning . The New York Times . 4 September 1993 . 14 June 2017 . 0362-4331.
  14. Web site: Farewell My Concubine (1993) . Box Office Mojo . 2 November 1993 . 3 February 2016.
  15. Web site: 爱白网 . Aibai.com . 2005-05-28 . 2016-02-03 . https://web.archive.org/web/20160303193907/http://www.aibai.com/infoview.php?id=12561 . 2016-03-03 . dead.
  16. Ying. Liang. August 2011. Making the Familiar Strange and the Strange Familiar-Farewell, My Concubine and Its Crossing National Borders. US-China Foreign Language. 9. 530–538.
  17. News: Farewell My Concubine (1993) - Awards. dead. https://web.archive.org/web/20150402201833/https://www.nytimes.com/movies/movie/131112/Farewell-My-Concubine/awards . Movies & TV Dept.. The New York Times. 2015. 2 April 2015.
  18. Web site: Theatrical: Farewell My Concubine :: Film Movement . 2024-04-19 . www.filmmovement.com . en.
  19. Web site: Farewell My Concubine . April 18, 2024 . The Criterion Collection.
  20. Web site: Ebert . Roger . Farewell My Concubine . Rogerebert.com . 29 October 1993 . 26 June 2017.
  21. Web site: Canby . Vincent . Review/Film Festival; Action, History, Politics And Love Above All . The New York Times . 8 October 1993 . 26 June 2017.
  22. Denby . David . A Half-Century at the Opera . . 25 October 1993 . 84.
  23. News: Hinson . Hal . Farewell My Concubine . . 27 October 1993 . 26 June 2017.
  24. News: Howe . Desson . Desson Howe . Farewell My Concubine . The Washington Post . 29 October 1993 . 26 June 2017.
  25. News: The Best 1,000 Movies Ever Made. The New York Times. 14 March 2016.
  26. Full List Best Movies of All Time. Time. 12 February 2005. 14 March 2016.
  27. Web site: The 100 Best Films Of World Cinema – 97. Farewell My Concubine . Empire. 2010-06-11 .
  28. Web site: 100 best Chinese Mainland Films: the countdown . . 5 April 2014 . 3 December 2019 . https://web.archive.org/web/20191203061317/http://www.timeoutbeijing.com/features/Books__Film-Interviews__Features/28696/100-best-Chinese-Mainland-Films-the-countdown/16/Number-1.html . dead .
  29. Web site: Farewell My Concubine (Ba wang bie ji) (1993) . . 29 July 2024.
  30. Web site: The 100 greatest foreign-language films. BBC. 30 October 2018. 6 November 2019.
  31. Web site: Best 100 Chinese-Language Motion Pictures. zh. Hong Kong Film Awards Association. 6 November 2019. 22 October 2019. https://web.archive.org/web/20191022211054/http://www.hkfaa.com/news/100films.html. dead.
  32. Web site: 'Farewell My Concubine' most appreciated in HK. China Daily. 27 May 2005. 6 November 2019.
  33. News: Vadeboncoeur. Joan. January 8, 1995. Critically Acclaimed Best Movies of '94 Include Works from Tarantino, Burton, Demme, Redford, Disney and Speilberg. Syracuse Herald American. 16. Final.
  34. News: King. Dennis. December 25, 1994. SCREEN SAVERS In a Year of Faulty Epics, The Oddest Little Movies Made The Biggest Impact. Tulsa World. E1. Final Home.
  35. Web site: Blair . Gavin J. . 'Farewell My Concubine' Director Chen Kaige to Head Tokyo Film Fest Jury . The Hollywood Reporter . 27 August 2013 . 14 August 2023.
  36. Web site: Past Award Winners . 26 June 2017 . . https://web.archive.org/web/20120204120731/http://www.bostonfilmcritics.org/content/past-award-winners . 2012-02-04 . dead .
  37. Web site: Camerimage 1993 . 26 June 2017 . . https://web.archive.org/web/20170422231456/http://www.camerimage.pl/en/camerimage-1993-2.html . 2017-04-22 . dead.
  38. Web site: 19TH ANNUAL LOS ANGELES FILM CRITICS ASSOCIATION AWARDS . 26 June 2017 . . 4 March 2016 . https://web.archive.org/web/20160304040500/http://www.lafca.net/years/1993.html . dead.
  39. Web site: 1993 Award Winners . 26 June 2017 . National Board of Review.
  40. Web site: N.Y. Writers Pick 'List' but Bypass Spielberg : Movies: Film Critics Circle echoes its L.A. counterpart by naming 'Schindler's List' the best work of 1993 and 'The Piano's' Jane Campion best director . Matthews . Jack . 16 December 1993 . 26 June 2017 . Los Angeles Times.
  41. Web site: The 66th Academy Awards . 26 June 2017 . Academy of Motion Picture Arts and Sciences.
  42. Web site: Film in 1994 . 26 June 2017 . British Academy of Film and Television Arts.
  43. Web site: PALMARÈS 1994 - 19 ÈME CÉRÉMONIE DES CÉSAR . 26 June 2017 . . https://web.archive.org/web/20160319023652/http://www.academie-cinema.org/ceremonie/palmares.html . 19 March 2016 . dead.
  44. Web site: Farewell My Concubine . 26 June 2017 . Hollywood Foreign Press Association.
  45. Web site: 49TH (1994) . 26 June 2017 . Mainichi Film Awards.