Modern Concept of Individualism Versus Traditional Values of the Community: Peking Opera Blues - Movie Review Example

Modern Concept of individualism versus Traditional values of the Community Peking Opera Blues In this movie, there are instances where conflict between individualism and traditional values of the village are at play. The film events take place at a time when China is at a crossroad between modern democracy associated with capitalism and individualism, and communism, which is synonymous with traditional values of collective village responsibility. The movie takes place at a strongly established transition in the modern Chinese history. It is 1923, and General Yuan Shi-Kai has seized power following the downfall of the Qing dynasty. To remain in power, Yuan needs a lot of money from the Western governments. General Cao is assisting Yuan to secure the loan. Nonetheless, his daughter Cao Yan is secretly conniving with the revolutionaries to steal the loan documents from her father. Clearly, his daughter, working with the revolutionaries is supportive of the western ideologies of capitalism and individualism, as opposed to her father who wants to maintain the status quo of the traditional Chinese values (Peking Opera Blues 1). In the process of attempting to seize the financial documents, she bumps into two completely different women. Bai Niu is the daughter of Wu Ma, who operates a Chinese Opera troupe featuring all male casts. Against the traditional Chinese society, she seeks to be an actress onstage, but the cultural practices prohibit it. At the same time, a gold digging singer Hong shows up at the opera hall while seeking a wayward box of jewelry. The two get themselves in the conspiracy when Cao Yan makes efforts to meet the revolutionary spy Ling at the opera hall when her father is participating in a performance. However, the plans are hard to execute since the law enforcement agents are closely monitoring them, resulting in a complex situation and exciting occurrence (Peking Opera Blues 1). The film clearly is a transition between traditionalism and individualism in many ways. Its plot touches on real history, a time when china is at a crossroad between freedom and dictatorial traditional values. While the political and cultural conflicts are rising, there is also an increasing friendship between these two women, which takes a universal perspective. The contexts and surrounding of the film is the Peking Opera, which Tsui mimics. One of the strongest indications of conflict between individualism and the traditional Chinese practices takes place when the gender roles are subverted, with the women taking a masculine appearance, whereas the males seem the direct opposite (Peking Opera Blues 1). The most significant theme in this movie that is indicative of a transition between cultural values and modernism is the changing women role. In the Chinese customs, women’s roles are limited to domestic issues. In this regard, they are expected to take care of their men and children. For instance, it is a woman, who attempts to steal a financial document that is aimed at supporting the survival of the ruling government. Also, unlike the usual masculine roles of men, the males in the film are portrayed as being resourceful or posing hindrances, but it is the women who run the show, making things happen. Tsao, with her capability of traversing the territory from one point to another, takes charge. What drives her to take action is the need to retrieve a crucial document containing data concerning a loan agreement between the ruling government and western powers. To some extent, the loan is going to mortgage the nation to the Western powers, much the same way that Hong Kong was already under the British control (Peking Opera Blues 1). Communist doctrines require leaders to be directly answerable and transparent to their subjects, to the extent that there is communal responsibility of taking care of others. However, individualism and the concept of self-centeredness creep in right from the apex of power. General Shuan Shi-Kai, having seized power, seeks to keep it with all means, not caring about the opinions of citizens regarding his leadership. Aware of the fact that revolutionaries want to dethrone him, he even looks for a hefty loan to safeguard his interests at the expense of the nation. In so doing, he does not have the interests of the nation at heart, since the loan is supposed to be used to protect his own interests (Peking Opera Blues 1). The film brings out a period of transition from traditionalism to modernity in that the three women are showing that females are slowly becoming powerful in the dominantly masculine society. Even Sheung, the most persistently feminine of the three women, makes use of her feminine charms to seduce the generals. In addition, she swims from one building to the prison tower to provide an important weapon for the revolution (Peking Opera Blues 1). In the political arena, Yuan Shikai, promised changes to the lives of power Chinese nationals. However, he shows his true colors after seizing power by proclaiming himself as an emperor after serving for three years as a democratic head of state. This clearly brings out a culture of individualism, in which he is primarily concerned with his personal interests instead of taking care of the citizens. In the same way, the warlords are also keen in safeguarding their personal interests, since some of the factions loyal to Sun Yat-sen and those who oppose him, battle for their own piece of the big cake that was once China. In the film, some of the popular warlord generals drive themselves out of Peking. At the start is General Tun, who has to escape with his wives before the president’s loyal, General Tsao, steps on the previously imperial city. The film clearly showcases the dynamics of power struggles associated with modernity, which eventually, may not benefit those who fight. Towards the end of the movie, General Tun comes back and Tsao is out of power. The producer shows how weird power struggles can prove to be. In fact, there are no major changes in the lives of the crowds of citizens who support the two factions. Instead, only a few people manage to reap from the gains and prosper (Peking Opera Blues 1). The guerilla warfare, waged with the sole purpose of introducing democracy in an otherwise authoritarian and traditionalist system, is another indication of transitions from traditionalism to modernity and individualism. Fully knowledgeable of Yuan’s dictatorial aspirations, and committed to restoring a real democracy, the revolutionaries wage the guerilla warfare to discredit and fight the generals. One of these guerillas is Pak Hoi, a good-looking and able bodied person, capable of passing through many barriers veiled in the relevant attire, a military gown or Westernized suit. Also, Ting Man showcases individualistic attributes when he is caught up in the battles, and only becomes loyal to Pak for the sake of his survival. In so doing, he relinquishes his loyalty to his seniors for the sake of safeguarding his individual concerns (Peking Opera Blues 1). Deepa Mehta’s Water In this movie, the producer uses the name Water to communicate the concept of realism. In this film, women are limited, with their varied individualities, their life torn and forgotten by the entire society. This is in spite of the fact that they form part of the social system, its structures, rules, tensions and its admixture of good and evil. This reality is depicted when the mistress of the ashram Madhumati, thanks Kalyani, the long-haired heroine for providing her money for cremating an old inmate, and at the same time sending her to the wealthy man’s home as a prostitute (Water 1). In the film, widows undergo oppression under the traditional religious principles that they expect to be of assistance to them. As a result, they yearn for an escape strategy from traditionalism and oppression. They are seeking individual freedom from such repressive doctrines. This fact is clearly brought out when the movie features the plight of a group of widows pushed into impoverishment at a temple in the city of Varanasi. It stresses on the relationship between one of the widows, who want to flee from the societal and traditional restrictions forced on widows, together with a man from the highest social order, a staunch loyal of Mahatma Gandhi. These people try to seek individual freedom and liberation by questioning the dominant social traditions and order (Water 1). In the film, another character, Sarala is also shown, filled with joy, freedom, and hope. All these are indications of life and youthfulness that the widows’ society must throttle. The child is free, showing signs of happiness with her little dog. She shows signs of being unmoved by expressing her feelings regarding human nature. She is symbolical of freedom from the traditions and dominant social orders that are depicted in the film as repressive and retrogressive to human development. The director’s devotion to serving kids and women has a universal significance, especially in a society where men are known for all the bad reasons like violence and oppression (Water 1). Works Cited Peking Opera Blues. Dir. Tsui Hark. Perf. Brigittee Lin, Cherie Chung, Selly Yeh, Paul Chun, Wu Ma, and Kenneth Tsang. Golden Princess Film Production, 1986. Film Water. Dir. Deepa Mehta. Perf Lisa Ray, John Abraham, and Seema Biswas. David Hamilton Productions, 2005. Film. Read More