| Ruan Lingyu | |
| Alias: | Lily Yuen |
| Native Name: | 阮玲玉 |
| Native Name Lang: | zh |
| Birth Name: | Ruan Fenggen (阮鳳根) |
| Birth Date: | April 26, 1910 |
| Birth Place: | Shanghai, China |
| Death Place: | Shanghai, China |
| Death Cause: | Suicide by barbiturate overdose |
| Occupation: | Actress |
| Years Active: | 1927–1935 |
Ruan Lingyu (born Ruan Fenggen; April 26, 1910 – March 8, 1935), also known by her English name Lily Yuen, was a Chinese silent film actress. One of the most prominent Chinese film stars of the 1930s, her exceptional acting ability and suicide at the age of 24 led her to become an icon of Chinese cinema.
Ruan was born to a working class family in Shanghai, and her ancestral home is in Xiangshan, Guangdong.[1] Her father died when she was young, and her mother brought her up working as a housemaid.
In 1926, to help make ends meet, Ruan signed up for the prominent Mingxing Film Company. She made her first film at the age of 16. The film, A Married Couple in Name Only (掛名的夫妻/挂名的夫妻), was directed by Bu Wancang.[2]
Two years later, she was signed by Da Zhonghua Baihe Company (大中華百合公司/大中华百合公司), where she shot six films.[3] Her first big break came in Spring Dream of an Old Capital (Chinese: 故都春夢 or Reminiscences of Beijing, 1930), which was a massive hit in China. It was Ruan's first major work after signing with the newly formed Lianhua Studio in 1930. In it, she played a prostitute by the name of Yanyan.
Thereafter, Ruan became Lianhua's major film star. Her most memorable works came after 1931, starting with the melodrama Love and Duty (directed by Bu Wancang). Ruan had by then gained popularity owing to a string of leading roles, and in 1933 she was voted second runner-up in a poll held by Star Daily (明星日報) for China's "movie queen". (Hu Die emerged the winner and Chen Yumei was first runner-up).[4] Beginning with Three Modern Women (1932), Ruan started collaborating with a group of leftist Chinese directors.
In Little Toys (1933), a film by Sun Yu, Ruan played a long-suffering toy-maker. Her next film, The Goddess (1934; dir: Wu Yonggang), is often hailed as the pinnacle of Chinese silent cinema; Ruan sympathetically portrayed a prostitute bringing up a child. Later that year, Ruan made her penultimate film, New Women (directed by Cai Chusheng), in which she played an educated woman forced to death by an unfeeling society. The film was based on the life of actress Ai Xia, who killed herself in 1934.[5] Her final film, National Customs, was released shortly after her death.
One of Ruan's earliest films, Love and Duty (1931), directed by Bu Wancang and long believed to be a lost film, was discovered in Uruguay in 1994.[6]
At the age of 16, Ruan became acquainted with Zhang Damin (张达民/張達民), whose family her mother worked for. Zhang was later driven out of his wealthy family due to his spendthrift ways and became a chronic gambler, supported by Ruan's salary. Unable to tolerate Zhang's gambling, Ruan split with him in 1933.[7]
She then began living with Tang Jishan, a tea tycoon. In 1935, Zhang filed a lawsuit asking for reparations from Ruan. The tabloids seized on this opportunity to probe into Ruan's private life and put her under intense pressure.[8]
Following the completion of New Women, Ruan's life began to unravel. The film opened in Shanghai in 1935. Cai Chusheng was under massive pressure from tabloid reporters, who were extremely hostile, owing to the scathing depiction of the Shanghai tabloids in the movie. Cai was forced to make extensive cuts to the film. Even after that, Ruan's private life was mercilessly seized upon by the tabloids and her lawsuit with her first husband, Zhang Damin, became a source of vindictive coverage.
Faced with her various public issues and intense private problems, Ruan committed suicide in Shanghai on March 8, 1935, at the age of 24, by taking an overdose of barbiturates. Her suicide note apparently contained a line which says "gossip is a fearful thing" (人言可畏), although recent researchers have doubted the note's authenticity as it appears to have been forged by Tang Jishan. Even China's preeminent intellectual Lu Xun was appalled at the details surrounding Ruan's death and wrote an essay entitled "Gossip is a Fearful Thing", denouncing the tabloids.
Recent researchers believe her deteriorating relationship with Tang Jishan and Zhang Damin's lawsuit were the cause of Ruan's death. It was further intensified by the mob media of China after New Women was released, since the film depicted the life of actress Ai Xia, who committed suicide due to media rumors about her private life. Ruan is also believed to have been physically abused on the evening that she died.
Her funeral service at the Wanguo Funeral Home lasted for three days. Several well-known film actors and actress attended her funeral, including Wang Renmei, Lin Chuchu and Liang Saizhen, and her pallbearers included some of the leading film directors such as Lai Man-Wai, Fei Mu, Wu Yonggang and Cai Chusheng. After the service, Ruan's casket was taken to a cemetery in Zhabei district.
Her funeral procession was reportedly 3miles long, with three women committing suicide during the event. The New York Times called it "the most spectacular funeral of the century".
In 1998, a uniquely designed monument dedicated to her debuted in Fushouyuan Cemetery in Shanghai.[9]
Two sets of suicide notes existed that were purportedly written by Ruan Lingyu just before her death.[10] [11] [12] [13]
The earlier suicide notes were first published in Lianhua Pictorial (聯華畫報) on April 1, 1935, in a commemorative issue on Ruan Lingyu's death, supplied by Tang Jishan with whom Ruan Lingyu was cohabiting at the time of her death.[14] [15] [16] [17]
These suicide notes are now believed to have been forged by Tang Jishan, as Ruan Lingyu was unlikely to have written a letter to the press over her suicide, furthermore with lines like "[my spirit] will watch over you forever and ever" to Tang Jishan, a notorious womanizer.[18]
On April 26, 1935, the Siming Journal of Business (《思明商學報》) published what are now believed to be the real suicide notes of Ruan Lingyu.[19] [20] [21] As the Siming Journal was a journal with an internal circulation of just 1,500 copies, few in China read about this and the article was largely forgotten after its initial publication.
The editor of Siming Journal claimed that Tang Jishan got Liang Saishan (梁賽珊), the sister of his lover Liang Saizhen (梁賽珍), to forge Ruan Lingyu's handwriting and suicide notes, which were then published in Lianhua Pictorial. Pricked by their conscience, Liang Saishan and Liang Saizhen later supplied Siming Journal with Ruan Lingyu's real suicide notes.[22] [23]
The notes were allegedly carelessly written, with many characters stricken off and rewritten, reflecting Ruan Lingyu’s state of mind. Most researchers believe them to be the authentic suicide notes left behind by Ruan.
The suicide notes were republished by Professor Lian Wenguang (连文光) in his 1993 book, Chinese and International Cinemas: History and Anecdotes.[24] Public interest reignited after Shanghai's Xinmin Evening News reported the research of film historian Shen Ji (沈寂) in 2001, which coincided with Lian Wenguang’s findings.[25]
Suicide note 1:
Suicide note 2:
Zhang Damin, who tried to tell his story regarding Ruan's suicide (and profit financially), agreed in 1935 to star as himself in a film titled Tears of Love (情淚). The film was aborted following angry backlash. Zhang did not give up, however. In 1937, a Hong Kong film titled Who's to Blame? (誰之過) directed by Shum Kat-sing (沈吉誠) appeared, starring Zhang as himself and Tam Yuk Lan (譚玉蘭) as Ruan; this may have been the same film as Tears of Love. In 1938, Zhang starred in yet another Hong Kong film, Wife of a Friend (朋友之妻), written and directed by Mak Tai-fung (麥大豐). This film did not invoke Ruan's name, but the reference cannot be more obvious: according to a handbill, the film told about an immoral womanizer who abandons his own wife to seduce his friend's, with the friend's wife committing suicide in the end. Neither film appears to have survived, and Zhang died from an illness later in 1938 in Hong Kong, apparently penniless.
In 1991, Hong Kong director Stanley Kwan made a movie about her life, Center Stage, starring Maggie Cheung as Ruan Lingyu. Cheung won the Berlin Film Festival Silver Bear for Best Actress.[26] Zhang Damin and Tang Jishan are portrayed by Lawrence Ng and Chin Han respectively. The film is credited to have revived public interest in Ruan Lingyu and her films.
In 1985, Cecilia Wong (黃杏秀) played Ruan in a 20-episode TV series aired on Asia Television, titled Ruan Lingyu/The Stardust Memories.
In 2005, Jacklyn Wu Chien-lien played Ruan in a 30-episode Chinese TV series, also titled Ruan Lingyu.[27]
Kong Lingjie (孔令洁) played Ruan Lingyu in the 1996 Chinese TV series Movie Queen Butterfly (影后胡蝶).
Ruan Lingyu's name was discussed throughout the HK TVB series - The 'W' Files (衛斯理) in 2003; however, there was no character portrayal. It was fitting to mention her name in the series since the plot was set in Shanghai during the 1930s, and she was a notable figure during that time.
| Year | English title | Original title | Role | Notes |
|---|---|---|---|---|
| 1927 | A Married Couple in Name Only | 掛名的夫妻 | Shi Miaowen | Lost |
| The Tablet of Blood and Tears | 血淚碑 | Liang Sibao | Lost | |
| Yang Kwei Fei of Peking | 北京楊貴妃 | Yang Xiaoyue | Lost | |
| The Heart of Women | 婦人心 | Lost | ||
| 1928 | The Luoyang Bridge | 蔡狀元建造洛陽橋 | Wang Yongxu | Lost |
| The White Cloud Pagoda | 白雲塔 | Pu Lüji | Lost | |
| 1929 | The Pearl Crown | 珍珠冠 | Lost | |
| Warnings for the Lovers | 情欲寶鑑 | Lost | ||
| Lonely Swan After the Calamity | 劫後孤鴻 | Lost | ||
| Attacking Nine-Dragon Mountain | 大破九龍山 | Lost | ||
| Burning Nine-Dragon Mountain | 火燒九龍山 | Lost | ||
| The Flower of the Silver Screen | 銀幕之花 | Lost | ||
| 1930 | Dream of the Ancient Capital | 故都春夢 | Lost | |
| Suicide Contract | 自殺合同 | Lost | ||
| Wild Flowers by the Road | 野草閒花 | Lilian | Lost? | |
| 1931 | Love and Duty | 戀愛與義務 | ||
| A Spray of Plum Blossoms | 一剪梅 | Hu Zhilu (Julia) | ||
| The Peach Girl | 桃花泣血記 | Miss Lim | [28] | |
| Yu Tang Chun | 玉堂春 | Lost | ||
| 1932 | Another Dream of the Ancient Capital | 續故都春夢 | Lost | |
| 1933 | Three Modern Women | 三个摩登女性 | Zhou Shuzhen | Lost |
| Night in the City | 城市之夜 | Daughter | Lost | |
| Little Toys | 小玩意 | Sister Ye | ||
| 1934 | Life | 人生 | Lost | |
| Coming Home | 歸來 | Survived reels are unedited | ||
| Goodbye, Shanghai | 再會吧，上海 | Partially survived, missing 3 reels | ||
| A Sea of Fragrant Snow | 香雪海 | Lost | ||
| The Goddess | 神女 | Prostitute | ||
| 1935 | New Women | 新女性 | Wei Ming | |
| National Customs | 國風 | Zhang Lan |