| The Red Detachment of Women (1961 film) | |
| Director: | Xie Jin |
| Producer: | Ding Li |
| Music: | Huang Zhun |
| Studio: | Shanghai Film Studio |
| Runtime: | 110 minutes |
| Country: | China |
| Language: | Chinese |
The Red Detachment of Women is a 1961 Chinese film by Xie Jin based on a script by Liang Xin. It is set in the 1930s and involves two peasant women who go into warfare.[1] The cast includes Zhu Xijuan, Wang Xingang, Xiang Mei, Jin Naihua, Chen Qiang, and Niu Ben.
The Red Detachment of Women became famous after winning the PRC's best script, best director, and best actress awards in November 1961.[2] The film characters of Qiong Hua, Hong Changqing, and Nan Batian became quite well-known and following the success of the Red Detachment of Women ballet in 1964 by the end of 1966 was elevated to one of the eight "revolutionary model theatrical works" (geming yangbanxi, or yangbanxi for short), which formed the official canon. A film of the ballet was released in 1970.
In September 1930, the Chinese Communist Party (CCP) set up a division in Hainan Island, which contained a company of female soldiers called the Red Detachment of Women. The CCP representative, Hong Changqing disguises as an oversea businessman to come across Nan Batian. He claims that he is back from abroad with large fortunes. Attempting to expand his armed forces with Changqing's help, Nan Batian holds a feast for Changqing. During Changqing's visit to Batian, he takes notice of a maidservant of Batian who suffers from Batian's torture. He makes a simple excuse to take that maidservant with him in order to free her from the oppression. At the time of their parting, Changqing knows her name is Wu Qionghua and she intends to be a soldier to fight against the feudal landlord. Guiding by Hong Changqing, Qionghua makes her way to the encampment with another young woman, Fu Honglian, who refuses her life as a widow. They are welcomed by the Red Detachment of Women because of their poor backgrounds.
In a following reconnaissance mission, Qionghua occasionally sees Nan Batian and she fires at him despite the military discipline. Batian is wounded while Qionghua's mission is failed. The company commander trained her in serious criticism and Hong Changqing reminds her of her position as a revolutionary fighter. Afterward in another mission, Hong Changqing and Wu Qionghua disguise as a businessman and his maidservant the same as before to enter Nan Batian's fort as spies. In the battle of Batian's fort, the Red Army successfully occupies the fort with help from inside and captures Nan Batian alive. However, the crafty Nan Batian escapes through a tunnel. In the following peasant movements, Qionghua takes an active part and she applies to join the Chinese Communist Party.
The escaping Nan Batian reports the situation to the government and the KMT assigns a brigade to attack the Red Army in Hainan Island. The Red Army retreats to the mountains. In a battle to cover the retreat, Hong Changqing is wounded and he is captured alive. He refuses to surrender and accepts his death bravely. Having witnessed Changqing's death, Qionghua returns to the encampment and becomes the successive CCP representative. She organizes an operation to destroy Nan Batian's forces after the KMT brigade leaves Hainan Island. They successfully occupy Batian's fort again and sentence the death of Nan Batian. Under Wu Qionghua's leadership, the Red Detachment of Women is marching to a bright future.
Evaluation:“Xie Jin is the national soul of Chinese films. He pays special attention to the destiny of the nation. His films represent the changes of different times, which can let the audience see the real living conditions of people at that time and the significance of the times. His artistic pursuit of developing synchronously with the times and seeking new changes is admirable. Always keep pace with the times, is the biggest characteristic of Xie Jin. In his works, there is a strong sense of social responsibility and patriotic national consciousness, and with the combination of film narrative methods close to the public, reached the peak of political and ethical melodrama, and shaped a series of successful female images.”(By Shuqin Huang,Quan Yuan,Hong yin)
Evaluation: Liang Xin's film literary creation can be divided into two periods. His early plays reflect several important historical periods of the people's revolutionary war. The later works have various themes and extensive contents, he combines history with people, and shows the essential characteristics of the times through the emotional actions of characters in various historical periods. Like other writers, Liang Xin defended and advocated the nationalization of film. His creation process is a careful, careful and earnest process of exploring the road of film nationalization. He attaches great importance to the expression of national consciousness and national spirit, and is not limited to the description of love. In his plays, he describes the behavior of the characters and pays attention to the nationalization.[3]
Actress: Zhu Xijuan
Wu Qionghua is a maidservant belongs to a feudal landlord, Nan Batian. She is a tenacious, pungent, brave youth whose father was skinned by Nan Batian. She has been lived in hatred to the landlord for a long time and never yields even in water prison after being whipped. With Hong Changqing's help, she is able to join the Red Detachment of Women, where she grows from an ordinary soldier to a proletarian pioneer fighter.
Evaluation of Xijuan Zhu: After a lot of hard work, Zhu Xijuan finally completed the transformation from a "student" to a "detachment of women". In the film, Zhu uses her " burning eyes" and strong body language to make the rebellious and resolute personality of Wu Qionghua's perfectly. "At that time, all the other actors in the film were already famous, but I was still a nobody," Zhu recalled. Movies at that time were full of dramatic performances. I had no idea what I wanted to do. All I knew was that I had to fulfill the tasks assigned by the Party and play my role well. When take play, director Xie always charge us not to see lens, do not care about whether beautiful or not, but just follow the plots and play your part well.” [4] (By Yu Xin)
Actor: Wang Xingang
Hong Changqing is the young Party representative of the women detachment. He is a firm, strong character who is loyal and enthusiastic towards the Communist Party. Because of the hardship his father suffered, Changqing struggled in the society at a young age and gained much experience, which made him mature. In the conversation with Wu Qionghua, he uses his self-experience to persuade her and helps her grow.
Actor: Chen Qiang
Nan Batian is one of the largest feudal landlords in Hainan Island. He is a cruel, fierce, crafty, and arbitrary character who believes himself of great talent. He has relationships with both government and local bandits. He also recruits militias and sets up checkpoints in the area he controls. Nan Batian is the archenemy of the Hainan Red Army.
Actress: Xiang Mei
Fu Honglian is also an honest, kind young woman who suffers feudal oppression. She was sold as a child bride at the age of 10. Her husband had already died, and she has been accompanied a "wooden husband" for ten years. Such mental torture pushes her to join the red army when Wu Qionghua comes to her house on a rainy night. They join the Red Detachment of Women together and fight side by side in the following battles.
Actor: Yang Mengchang
The majordomo of Nan Batian is a scholar image with a poker face. He is very careful and suspicious. He always does his best to fulfill his master's will. He also gives Nan Batian many ideas when Batian is dealing with tricky problems. When his advice is obstinately rejected by Nan Batian, he sighs for not having a wise master.
| Shen Xilin | ||
| Sound Designer | Gong Zhengming | |
| Art Director | Zhang Hanchen | |
| Editor | Wei Chunbao | |
| Executive Line Producers | Ding Li | |
| Assistant to Director | Wang Jie | |
| Original Music | Huang Zhun | |
| Military Consultant | Ma Baishan | |
| Pyrotechnic Supervisor | Chen Yonggeng | |
| Make-up Artists | Wang Tiebin |
Song of the Red Detachment of Women
The Cultural Revolution (1966–76) is often seen as a dark period of Chinese politics and violence. The government follows Mao's order started a reform campaign. The main goal is to regulate theatres and sift through plays by only keeping the “good” ones and banning any plays that involved feudal content.[6] Later, all traditional and Western-influenced plays are banned as well. Yet this period also witnesses the creation of “革命样板戏 (revolutionary opera)”, The Red Detachment of Women is one of the few that luckily survived during the revolution period.
However, the real history is very different from the story on the screen. As a combat unit, the Red Detachment of Women lasted only 500 days before it was broken up by Kuomintang troops. Some of them died on the battlefield and a few were captured. Most of the rest returned to civilian life, hidden from view. It wasn't until many years later when their stories were discovered by accident, and they became the main characters in novel, movies, and stage plays. However, what happened to them after they put down their guns and the long life after that is rarely mentioned. During the ill-fated Cultural Revolution, the ballet version of “The Red Detachment of Women" became a must-have for leaders to entertain foreign guests, was also designated as a Revolutionary opera and was remade into a film, showing all over the country. These are two very different images: On stage, they are the heroes of the revolution; in reality, they are the objects of the revolution.
The reality is that some of the soldiers fell into a low ebb in the political movements after 1949 because of the experience of being captured by the Kuomintang or being married to "politically incorrect" people. Writers and artists who created the Red Detachment of Women series of works of art were also buffeted to varying degrees. Bai Shuxiang (白淑湘), the first actress to play Wu Qionghua in the ballet Red Detachment of Women, was labeled as “destructive Revolutionary opera" and "counter-revolutionary” and was once sent to a Labor camp. The screenwriter, director, and former head of the National Ballet of China, Li Chengxiang (李承祥), was dismissed as a "capitalist roader" and locked up in a cowshed until the capitalist needed him to play the villain "Nanba Tian南霸天".[7] The archetype and the artistic image, two groups that are far apart from each other, suddenly became class enemies. They are the shadow of the on-stage glorious Red Detachment of Women, where the light of history turns dark.
Unlike Western feminism, Chinese socialist feminism was mobilized by the country's leader and the Party gave authority and power to works of art that allow them to use the power of art to influence the public. One of the main goals of China's revolutionary journey was to focus on the liberation of women. Under the Party's mandate, women were emancipated from tradition and it is so important since this indicates a huge revolutionary change that women are as capable as men. “The Red Detachment of Women” was created base on the archetype of the all-female battalion and the film strongly promoted the theme that women can also serve as soldiers and do revolutions.[8] Mao has a famous slogan “women hold up half the sky”. Feminists around the world praised him a lot due to this line. Heroines under Mao's communist theatre challenged the traditional stereotyped women. Theses female characters fought for women's liberation and gender equalitarianism. Just like Qiong Hua, she fought for her unfortunate life and against feudal patriarchy.
Unlike the ballet version of The Red Detachment of Women, the 1961 film places greater emphasis on the connection between sexual repression of women and class oppression through its narration of Honglian's difficult life and the "wood-made dummy" in her bed, which symbolizes her dead husband.[9]
However, in recent years some feminist scholars criticized what he called feminism politics. Revolutionary artistic production seems to embrace the female population, it also erased femininity.[6] The communist artwork heroine all have a common characteristic which is women act like a man. Therefore, Mao's heroines are concluded as having the characteristics of “gender erasure”, and scholars consider this seems to be built on the stereotype of a pre-existing gender pattern assigned to women.
From the 1900s when cinema entered the market, it started to play an important role in the Chinese Communist Party's media strategy. Film like Operation Red Sea successfully merged patriotic narratives with a Hollywood type of story. This attracted numerous audiences and enhanced people's national assertiveness. Using movies to promote is nothing new. From ancient times to the present, CCP continuously oversees in the film industry, and the Propaganda Department of the Chinese Communist Party takes direct control over the profession.[10]
Mao and his wife Jiang employed literature and art as propagandistic tools to influence the general public.[11] The Red Detachment of Women (the ballet) had an unambiguously intent on propaganda, and its production skill was undeniable. In the ballet, villains were dark and showed up in dim color while the heroes were pure and they appeared with a bright and vivid atmosphere. This sharp color comparison created a strong visual contrast to the audience for ideological education. Later, the government started a moving cinema to bring the film to the villages. Through watching various revolutionary based communist movies, people enjoyed the entertainment, and at the same time they carried out a subtle influence.
"Red classics" is a unique type of literary works in China, which mainly refers to literary works created by relying on the theme of revolutionary realism. The Red Detachment of women is a famous red classic, which shows the revolutionary spirit, gender consciousness and liberation concept in China's revolutionary struggle. The red thought to be conveyed in the film can be summarized as "communism is true, the party is the leader", relying on the collective strength of the proletariat to achieve real communism, and in this process, it is inseparable from the guidance, leadership and even sacrifice of a number of successive Communist Party members. The Red Detachment of women is a classic work in the history of Chinese film. The legendary story, the classic female image and the great revolutionary spirit of the Red Detachment of women are an immortal light in the revolutionary history and film history of the people's Republic of China.[12]
In 1958, Liang Xin, a professional creator of the Central South Military Area Command, went to Hainan Island to experience life. In the Memorial Hall of Revolutionary Heroes, Liang Xin was inspired by the pictures of the Red Detachment of Women, and he decided to write a script about them. Liang xin stayed in the hotel for whole 4 days and finished the script<琼岛英雄花>Liang then sent the script to film studios and magazines all over the country, but to his disappointment, he did not receive any reply. Two years later, when Liang Xin began to forget the script, he suddenly received a letter from the Shanghai Film Studio, Xie Jin said in the letter that he was moved by the script and decided to make a movie of it. He asked Liang Xin to come to Shanghai for a meeting. For Xie Jin's letter, Liang Xin was excited. He immediately went to Shanghai to discuss the script with Xie Jin, and soon came up with a new script for the film after revision. Xie decided to rename the film "The Red Detachment of Women" because he thought the name <琼岛英雄花>was a bit cultural.[13] Later, he was chosen by the director of Shanghai Tianma Film Studio, Xie Jin, and was renamed "The Red Detachment of Women". The film was eventually made by Shanghai Tianma Film Studio.[14]
After making the decision to shoot, Xie Jin went to Hainan alone, spent half a year to select the shooting place for The Red Detachment of Women. In the summer of 1959, Xie Jin led Zhu Xijuan and other lead actors to come to Hainan for experiences in order to allow the actors to adapt to the roles as soon as possible. In addition to organizing them to read novels and memoirs that reflect the revolutionary struggle of the Red Army era, Xie Jin also asked every actor who played the female army to wear leggings, perform military exercises, and practice military actions to make these actions become their lifestyle habits.[15]
When the shooting of "the Red Detachment of women" was about to start in 1961, the choice of the heroine "Qionghua" was still uncertain. In the play, Liang Xin describes a prominent feature of "Qionghua" which is "hot big eyes". As a result, to find that pair of "hot big eyes" has become Xie Jin's primary task. However, how many pairs of eyes have seen it, but the big eyes lingering in Xie Jin's mind for a long time have not appeared. One day, when Xie Jin was passing a classroom in Shanghai drama academy, he heard a young man and woman quarreling. I saw a girl student with eyes wide open. She was very excited to say something to a boy. A pair of hot big eyes, a face unforgiving appearance. With some anger and excitement, Xie Jin was moved by these eyes. Isn't this the "Qionghua" he has been looking for? Xie Jin learned that her name is Zhu Xijuan. He asked Liang Xin to come and have a look. Liang Xin was stunned at that time. Although the role of "Qionghua" is the combination of several revolutionaries, Zhu Xijuan seems to have similarities with each of them. Zhu Xijuan thus entered the Red Detachment of women crew.
There was a love scene between Hong Changqing and Wu Qionghua in the script. In one episode, after the wedding ceremony of Hong Lian and Gui, Hong Lian, as the elder sister, encourages Wu Qionghua to talk with Hong Changqing. Wu Qionghua came to Hong Chang qing with a serious expression and said loudly, " I want to talk to you." The two then walked to the green hillside, pairs of lovers from time to time by their side, the song floating at the party faded and faded. Wu Qionghua took out a bag of betel nut and gave it to Hong Changqing, but Hong Changqing didn't pick it up. He said, "In our hometown, you can't pick up girls' things." Wu Qionghua is anxious. For this love scene, Xie Jin was originally ready to move on the screen. However, some comrades in the film crew raised different opinions, fearing that the film would have trouble censoring because of the love scenes in the film at that time. After consideration, Xie Jin felt that this concern was not unreasonable, and then the script was changed accordingly, showing that Wu Qionghua and Hong Changqing had become comrades from lovers. Still, there are glimpses of their love in the film. In that particular era, is also a different kind of amorous feelings.
To commemorate the 90th anniversary of the founding of the Party and the 80th anniversary of the founding of the Red Detachment of Women, the Red Detachment of Women inaugural meeting site in the old village committee of Yangjiang Town, Qionghai City, Hainan Province officially started reconstruction.[16]
The story was turned into a ballet and later a Beijing opera during the Cultural Revolution and became famous in the West for its gun-toting ballerinas. The ballet was immortalized on film in 1970 and is now considered a foundational work of Chinese indigenous ballet.[18]
In 2006, at a time when the TV play had become the most influential genre in China's flourishing TV industry, and the revival of the Red Classics was in full swing, The Red Detachment of Women was remade as a 21-episode TV series as a collaborative production of Hainan Radio and TV, Beijing TV, Beijing TV Arts Centre, and the Eastern Magic Dragon Film Company under the direction of Yuan Jun.