Mehtas, Water, Harks, Peking Opera Blues and Kwans, Rouge - Individualism vs Traditional Values - Movie Review Example

Conflict between Individualism and traditional values in film of Societies change because of modernization.Traditional values therefore face challenges in becoming irrelevant in light of individual facing modern experiences. Attachment of society to traditional values is guided by the standards that such values instill in individuals such as undivided loyalty and obligation to family and social institutions. As a result, the individuals raised in society are affected by tradition and modernity. In defiance of what the society expects, those facing this situation make effort to gratify their selves through pursuing freedom and joy for a future of optimism. The importance of this topic lies in the fact that every individual in modern times is affected by this notion. This essay paper intends to demonstrate the conflict between individualism as a modern concept and the community’s traditional values as depicted in Mehta’s, water, Harks, Peking opera blues and Kwan’s, Rouge. Introduction This essay will carry out an analysis of how the directors have expressed conflicts using the movies as mentioned. In addition to this, the essay will look at some vital lessons arising from the complex events of what the various characters go through largely due to transformation of society and eventually getting freedom by themselves. Water by Mehta demonstrates conflicting ideas that characterize the ideals of individualism and values of tradition relating to obligations to family and social rules upheld by society. This is clearly illustrated by the female characters comprised of Chuyia, Shakuntala and Chuyia. These are three female personalities experiencing a complex situation in terms of two competing ideals. At this moment of history, India as a country is going through a cultural phase causing the situation to be more complicated. The emergence of new laws is attributed to a time of colonialism. These new laws go contrary to Indian society’s traditional customs which concerns widowhood and remarriage. Kalyani loves Narayan to the extent that she flees with him to the other side of river Ganges where Narayan lives with his father (Mehta, 2005). Kalyani goes contrary to tradition’s expectations due to her plan to flee and get married by Narayan. Individualism is seen through Kalyani who plans to get remarried, a decision which violates the customs of India in relation to prohibition of marriage According to Shakuntala, the experience she undergoes in life results into a conflict which causes her to have contrary views about widowhood customs in India. She feels that there should be a situation that is ideal and capable of being accepted by all. Kalyan earns freedom courtesy of Shakuntala after which Kalyani flees with Narayan to the opposite bank of the Ganges River and apart from this; Shakuntala comes to the rescue of Chuyia (Mehta, 2005). This instance demonstrates Shankuntala’s negative perception to customs and her adherence to apply it by remaining in the ashram. As events unfold, the individual ideals of Shakuntala contradict her apparent loyalty and commitment to the social norms of India which is in support of forbidding remarriage for widows. Chuyia herself despite adhering to the demands placed on widows according to Indian customs decides to go with Shakuntala so as to free her from the fate that she is destined to experience as a young widow whose age is too low. The events unfolding indicate that the situation experienced by these three widows places them in a situation that require difficult conflicting decisions to be made. One of the decisions they must make for their own and each other’s benefit is to ensure that life for them becomes tolerable. The need to safeguard their interest and individual benefits contradicts the commitment they are required to observe about Indian society’s custom. The things they do indicate their rebellion of custom irrespective of its suppressive nature. In Hark’s Peking opera blues, there is conflict of individualism and traditional values portrayed through the lives of the three women characters, Bai Nui, Hong and Cao Yan. The history behind the film and the actions contained there in convey the theme of values of tradition which focus on family obligations and the roles of women. Cao Yan diverts her loyalty further from her family especially her father. In the process, she commits herself to the cause of the revolutionary. The revolution makes use of Cao Yan to get hold of documents that were crucial from her father, Cao, who holds the position of general (Hark, 1986). Furthermore, Cao Yan becomes involved in a rebellious movement that went contrary to the general’s political stand and position. By performing such acts, she stops being obligated to family for the purpose of working together with the revolution whose acts were contrary to general Cao, a vital government official Bai Nui intends to become a performer inorder to join the rest of his father’s group (Hark, 1986). At this period of time, Chinese traditions played a significant role in discouraging women from acting on stage. At one point, Bai Niu tries to participate in a play but her father reprimands her for her persistent attempts and even the men of the troupe play women’s roles (Hark, 1986). Such strict traditions restricted women from a multitude of roles as seen here. Bai Niu also compromises the safety of her family and the troupe by her acts of defiance. Bai Niu joins Cao Yan, Hong and two men in supporting and fighting against the revolutionary (Hark, 1986). This puts her father and members of the opera at risk. Hong’s acts portray individualistic tendencies which shift away from traditional behavior expected of women. At the beginning of the film, Hong steals a jewellery box after soldiers storm the place she is performing (Hark, 1986). As a woman, she is involved in petty robbery which does not reflect on the well mannered nature of women. These are roles mostly associated with men however she goes against the restrictions of society for her own benefits which is to escape from poverty. Looking at Hong, Cao Yan and Bai Niu, their acts portray conflicting interest between modern concepts of individualism and traditional values of obligation to family and social institutions. Cao Yan shifts her obligations from her father to the revolutionary movement’s cause. Her acts portray betrayal of her father and going against commitment to family for a cause she believed in. Hong on the other hand is caught between the obligation to ensure security of her father and troop members and the need to support the revolution. In addition she attempts to defy the tradition that restricts the role of women such as acting in a traditional Chinese setting. Hong’s acts as a petty thief portray her defiance of the expectation that society places on women, the Chinese society not being an exception. In Kwan’s Rouge, one of the two major characters, who depict conflict between individualism and obligations to family, is Chan. One of the ways Chan does this is through maintaining a relationship that is against his family. Chan comes from a wealthy and prosperous family and his lover is a courtesan named Fleur (Kwan, 1988). Kwan’s decision to be involved in a love relationship that is frowned upon by his family depicts conflicting ideals in terms of seeking for his happiness and maintaining the respect of his family. Another way in which Kwan uses to depict this conflict relates to the manner in which Chan conducts himself. Chan goes to dens which are common with smoking of opium and courtesans where he meets Fleur (Kwan 1988). In a traditional Chinese society which focuses on maintenance of family values, Chan goes against these ideals and decides to commit acts which will contribute to his freedom from such restrictions. In addition to this, he seeks happiness for himself at the expense of keeping in mind the interests of his parents. Chan’s acts of defiance demonstrate the conflict between individualism and the traditional values in relation to obligation to his parents and the ideals of society in which he comes from. By maintaining his relationship with Fleur to the point of making a decision by both of them to commit suicide for their own ends, Chan is a depiction of conflict between the modern concept of individualism and traditional community values of obligation to one’s parents. It is clear that Kwan, Herk and Mehta have depicted the conflict between individualism as a modern concept and traditional values of the community through the complex lives that their characters went through. There are lessons that can be drawn from all of these incidents. From Mehta’s water, we learn about the oppressive nature that traditions can have on a class of people in society such as widowed women. This is reflected in the experiences that Kalyani and Chuyia go through where they are taken advantage of. However modernity has brought newer concepts that can remedy the situation as depicted in the enlightenment of Shakuntala. Herk’s Peking opera blues the lesson comes from the way nation hood can override the obligations that people such as Cao Yan may be having to their family. Despite the importance of family, there comes a time when higher interests for family become low in the list of priorities. It is clear from this film that traditional restrictions especially on women can hinder them from pursuing their careers such as acting as reflected in Bai Nui’s life. Kwan’s Rouge, Chan has illustrated vital lessons in relation to family obligations. At times, despite looking for freedom from obligations placed by family, there are times such obligations are meant for the good of individuals. Looking at how Chan ended up in a miserable situation clearly depicts this. In conclusion, Mehta’s water, Harks Peking opera blues and Kwan’s Rouge are films which depict a conflict between individualism, a modern concept, and traditional values such as obligation to parents and social institutions which perpetuate prohibitive rules. This been reflected in characters such as Kalyani, Chan and Cao Yan. Overcoming tradition’s restrictions on women and the obligation to family have been observed to have consequences as seen. The lessons that could be derived from these three films can be ital in understanding more about conflicts that arise between modern and traditional values in the lives os specific people and society at large. References Hark, T. (Director). (1986). Peking opera blues [Film]. Hong Kong. Kwan, S. (Director). (1988). Rouge [Film]. Hong Kong. Mehta, D. (Director). (2005). Water [Film]. Canada. Read More