Contemporary Chinese Cinema: Raise the Red Lantern - Movie Review Example

Contemporary Chinese Cinema-Raise the Red Lantern Raise the Red Lantern, a 1991 Chinese film, was directed by Zhang Yimou with screenplay by Ni Zhen who wrote it based on the Su Tong’s novel Wives and Concubines. Set primarily in 1920s, the film is about the life and travails of a young Chinese woman who becomes a concubine in the household of a wealthy man. Raise the Red Lantern is Zhang Yimou’s fourth film, and is considered as the last film of his trilogy, all of which were highly critical of the Chinese Culture as well as Confucian thoughts (Red Sorghum and Judou are the earlier ones). Yimou is viewed as part of the Fifth Generation filmmakers, group of filmmakers who were part of an intellectual movement that extended throughout China, and which critically poked at the traditional structures of China. These filmmakers are known for a particular style or genre of filmmaking, which included “frequent deployment of long takes, long shots, and deep focus, are anguished, self-reflexive, slow-paced, scathing critiques of entrenched patterns of traditional Chinese culture” (Neo). Due to this genre particularly the anti-Chinese element, the film was banned by the Chinese government from being shown in the cinema screens, and only later, it was shown on television. As pointed out above, the film earned the wrath of the Chinese government mainly because it directly criticized China’s historical, cultural and social traditions, particularly the tradition of suppression of women by the men. That is, in 1920s Chinese women were always viewed as Second-class citizens, whose only purpose in life is looking after their husbands and families. “Chinese women are imbibed to obey their fathers as children; obey their husbands when married; and follow their eldest sons when widowed.” (Neo). These archaic traditions were sprinkled throughout the film, mainly with a critical viewpoint, and that can be analyzed through one particular sequence. The sequence of the killing of the Third Mistress will be analyzed using the stylistic elements of color and cinematography. Towards the end of the film, the central protagonist of Songlian retreats more into an isolated and depressed state, due to the stifling condition in the house. On the occasion of her 20th birthday, she becomes highly intoxicated and in a state of instability, she reveals about the illegal relationship between the Third Mistress, Meishan and the family Doctor Gao to Zhuoyun. This sets of the chilling and impact-ridden Third Mistress killing scene. After the Master of the house, Chen knows about the illegal relationship, he orders her to be hanged in the House of Death, which is situated on the isolated top of an expansive and barren house. “The film takes place within the gray stone and tile walls of the Chen complex, where the master lives in the central house and each of the four mistresses has a house of her own.” (Ebert). Meishan is dragged to that isolated house by the servants, who were all holding Red Lanterns, sneakily followed by Songlian. The use of Red Lanterns followed by black and grey colored exteriors of the house provides a contrasting and at the same time in-depth perspectives. In Chinese as well as in other cultures of the world, Red always signifies power. “Red, such a striking color, plays an important role in politics. It has been use in national flags, in military uniforms and as a symbol of communism or socialism.” (Alexandjro). On the same lines, Red colored Lanterns was specifically used by the Male servants to denote their power. That is, when two Male servants were dragging Meishan with a lot of struggle, other servants could have aided. There is no need for them to carry the Lanterns with difficulty, but it seems the director has made them to carry to denote that they have the power and they can do anything, even if that woman is one-time matriarch of the house. Thus, the theme of female subjugation at the hands of the men in early China, comes to the fore at the starting of that sequence, not only through the actions of the servant but also through the use of Red colored Lanterns. After witnessing the dragging, Songlian follows them to the top of the house. The top exterior of the house is shown mainly in neutral and washed out colors, which was further accentuated by the full covering of snow. This is in total contrast to the inside of the house, where each room was at its opulent best due to the use of bright and rich colors. This contrasting color selection implies how the women, who act against their men of the lives, will have to face a barren, ‘colorless’ and tragic end, while women who are subordinate to the men will be given a comfortable and colorful life. “The startling blaze of color, light and detail within the houses set against the drab simplicity of the courtyards, continually provided a contrast between life within the protection and at the favor of the master, and life without.” (Littrell). From the above analysis of color in that particular scene, it is clear that men had all the power, and women had to live according to their whims, or they will be suppressed further. The cinematography in that particular Third Mistress killing scene had deeper insights. When Meishan is dragged, with her screaming and kicking, Meishan follows without the servants noticing her, traversing the expansive top of the house. These shots, which included top-angled as well as panning shots, show the vastness of the house. “Although there are many shots of the houses architecture, it is curiously difficult to get a good idea of its extent and layout. Like Gormenghast, it seems to extend in all directions indefinitely, as if expanding in the direction of our gaze.” (Ebert). With the house of Chen shown as a never-ending one, without clear cut boundaries, it kind of implies that women in that house are living in a sort of an ‘island’ fully surrounded by the never-ending sea. They are not allowed to venture out and thereby have a social life, so they can express their identity. Instead they have to be in the house all the time to be at the service of the man of the house. This again brings forth the theme that women in 1920s China are restricted and suppressed within the confines of their houses, and are not allowed to enter to the society and take part in varied activities. Then the camera is placed from the perspective of Songlian, as she watches from quite a distance, how Meishan is dragged into that House of Death. After servants move out of the vicinity, Songlian moves closer, with the camera being positioned from her viewpoint as well as showing her from front on. While showing from her viewpoint, comes one of the few atypical shots of the film. That is, throughout the film, there were no camera movements, with most the shots being fixed. Even when there is movement, it was steady and serene. However, in that particular shot, the camera movement was very shaky. It seems it was done to reflect the shaky and frightened mindset of Songlian, as she approaches with bated breath to find out the fate of Meishan. “As she approaches the house we suddenly move to a shaky POV shot from Songlian the camera as unstable and fearful as her heavy chilled breath.” (Nathaniel). Immediately, a very long shot captures Songlian opening the door and finding out the dead body of Meishan. Songlian, who is already in agony because of the depressive state of her life, becomes more emotionally traumatized. She becomes insane at the end of the movie. “Her life is spared but the trauma of witnessing, and to some degree causing, Third Mistress’s death, makes her insane.” (Monroy). The cinematography of that sequence and the sequence itself proves how the women in China in 1920s were a weaker species, and could be killed by the men, without any chance of prosecution. Thus, the stylistic elements, the particular sequence and the film as a whole put the focus on the female subjugation that was prevalent in early China. Works Cited Alejandro, R. A. “Raise The Red Lantern - Hierarchy of Societal Priorities.” Politics and Film, 1 Sept 2007. Web. 24 Oct 2012. Ebert, Roger. “Raise the Red Lantern (1990).” Chicago Sun Times, 27 April 2003. Web. 24 Oct 2012. Littrell, Dennis. “Raise the Red Lantern.” IMDB, 12 Feb 2001. Web. 24 Oct 2012. Monroy, Juan. “Unsettled Spirits in Raise the Red Lantern.” Juanomatic, 25 April 2012. Web. 24 Oct 2012. Nathaniel, R. “Hit Me With Your Best Shot: "Raise the Red Lantern".” The Film Experience, 1 May 2012. Web. 24 Oct 2012. Neo, David. “The “Confusion Ethics” of Raise the Red Lantern.” Senses of Cinema, 28 Oct 2004. Web. 24 Oct 2012. Read More