Director:
Chen Kaige
Cast: Leslie Cheung, Zhang Fengyi, Gong Li
Farewell
My Concubine is a title which alludes to a popular piece of
traditional Chinese opera, an art form, which unlike its Western
counterpart, enjoyed widespread and enthusiastic support from
all walks of life. The film, which won the Cannes Film Festival
Palme D'Or, spans fifty years, detailing the relationship
between two Chinese opera stars. Meeting as young boys in
a operatic training school in the 1920's, Douzi (Leslie Cheung)
is trained to perform female roles, while Shitou (Zhang Fengyi),
takes on the male roles. At some point of his training, Douzi
completely embraces the female essence of his characters,
though whether the film intended this to be an explanation
for his homosexuality in his adult life is not expressed.
Their friendship is tested by war, communist purges and most
of all, by the intrusion of Shitou's wife into their lives,
Juxian (Gong Li).
This
is a love triangle: both Douzi (or Dieyi, as he is known as
an adult) and Juxian loves Shitou (or Xiaolou). It is a simple
theme which is as dramatic and powerful as the stories played
out on the stage, in fact, the operatic theme pervades much
of the film's fabric. Dieyi can only express his love for
Xiaolou as the Concubine Yu to Xiaolou's Emperor on stage,
and to him, opera is more than just an occupation, but his
whole being. And so when the opera tradition comes under attack
from the Red Guards in the 1960s, it is an attack on his identity.
It seems strange, but Xiaolou doesn't notice his "stage brother's"
love for him, perhaps too wrapped up in his ambitions. Only
his wife senses it, and the conflict between Dieyi and Juxian
provides some of the movie's most emotionally charged scenes.
This
is the first performance by Leslie Cheung that I can remember
which utilised his dramatic abilities. Subsumed in his costume
and makeup, he is Concubine Yu, and also a woman in love,
a transformational magic that's fascinating to watch. Zhang
Fengyi's Xiaolou is brash and perplexingly insensitive - or
perhaps wilfully blind, until at last he betrays Dieyi to
save his own life. And Juxian suits Gong Li as a feisty woman,
sometimes an enemy of Dieyi, but showing her complexity by
displaying moments of understanding and compassion for him,
and fierce devotion to her husband. Having been positive about
this film, I have to say its not a film for everyone, especially
not at 2 and a half hours. But as a film of tragedy and drama,
it is from start to the shocking finish, a well-crafted piece
of work.
Eden
Law
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