Farewell My Concubine (film)

Farewell My Concubine
Theatrical release poster
Traditional	霸王別姬
Simplified	霸王别姬
Mandarin	Bà Wáng Bié Jī
Literally	The Hegemon-King Bids Farewell to His Concubine
Directed by	Chen Kaige
Screenplay by	Lu Wei Lilian Lee
Based on	Farewell My Concubine by Lilian Lee rewritten from Qiuhaitang (秋海棠) by Qin Shouou (zh:秦瘦鷗)
Produced by	Hsu Feng
Starring	Leslie Cheung Zhang Fengyi Gong Li
Cinematography	Gu Changwei
Edited by	Pei Xiaonan
Music by	Zhao Jiping
Production company	Beijing Film Studio
Distributed by	Miramax Films (US)
Release date	1 January 1993 (1993-01-01) (Hong Kong) 15 October 1993 (1993-10-15) (United States)
Running time	171 minutes 157 minutes (US – Theatrical release only)
Countries	China Hong Kong
Language	Mandarin
Box office	$5,216,888 (US)[1]

Farewell My Concubine is a 1993 Chinese historical drama film directed by Chen Kaige, starring Leslie Cheung, Gong Li, and Zhang Fengyi. Adapted for the screen by Lu Wei based on the novel by Lilian Lee, the film is set in a politically tumultuous China during the 20th century, from the early days of the Republic of China to the aftermath of the Cultural Revolution. It chronicles the troubled relationships between two Peking opera actors and lifelong friends Cheng Dieyi (Cheung) and Duan Xiaolou (Zhang), and Xiaolou's wife Juxian (Gong). The movie is about confusion of identity and blurred lines between real life and the stage, portrayed by the revered opera actor Dieyi, whose unrequited love for Xiaolou persists through the movie. Scholar Ying notes that in order "[to] attract the international audience, Chinese history and Peking Opera are drawn close while homosexuality, individual perversities and moral dilemmas are transposed distant".^[2] Commentators also noted themes of political and societal disturbances in 20th-century China, which is typical of the Chinese Fifth Generation cinema.

Farewell My Concubine premiered on January 1, 1993, in Hong Kong. Upon release, the film received generally positive reviews from contemporary critics and won the Palme d'Or at the 1993 Cannes Film Festival,^{[note 1]} becoming the first Chinese-language film to achieve the honour. It further won accolades including a Golden Globe for Best Foreign Language Film and a BAFTA for Best Film Not in the English Language, and received two nominations at the 66th Academy Awards for Best Cinematography and Best Foreign Language Film. The film was initially removed from theatres and banned in Mainland China—for less than two months—because of its depiction of homosexuality and suicide.^[3][4] Farewell My Concubine is considered one of the landmark films of the Fifth Generation movement that brought Chinese film directors to world attention.^[5][6] In 2005, the film was selected as one of the "100 Best Films in Global History" by the US "Time".

The film was shown in Korea with re-release preview in March 2020. The film, which runs for 171 minutes, was re-screened in South Korea on April 1. It was scheduled to open on March 25, which was later moved to the 17th anniversary of Cheung's death.^[7]

Plot[]

In the winter of 1924, Douzi, a boy endowed with feminine features, is taken by his prostitute mother to an all-boys Peking opera troupe supervised by Master Guan. Douzi has an extra finger causing Master Guan to initially reject him from the joining the troupe. Shortly after, Douzi's mother cuts the extra finger off with a knife and returns him to the troupe with his hand is still bleeding, and abandons him. Douzi befriends a fellow student, Shitou.

In 1932, a teenage Douzi is trained to play dan (female roles), while Shitou learns jing (painted face male roles). When practicing the play "Dreaming of the World Outside the Nunnery", Douzi accidentally substitutes the line "I am by nature a girl, not a boy" with "I am by nature a boy, not a girl," and is disciplined severely by the instructors. Douzi, along with another student, Laizi, attempts to run away, but Douzi decides to pursue acting seriously after witnessing an opera performance in a theatre. Upon returning, they find the whole troupe being punished for their desertion, and Douzi is beaten. As a result, Laizi hangs himself.

An agent who provides funding for opera plays comes to the troupe to seek potentials. When Douzi repeats the same mistake in front of the agent, Shitou commands for him to start over. Douzi finally whispers, "I am by nature a girl, not a boy". He delivers the entire monologue successfully, to the joy of the troupe, and secures the agent. The troupe is invited to perform for eunuch Zhang. Shitou and Douzi are brought to Zhang's house where they find a finely crafted sword, which Shitou promises to give to Douzi one day, as the hero would do for his concubine. Zhang asks to meet Douzi in his room and sexually assaults him. Douzi does not mention this to anyone, but Shitou implicitly knows what happened. On their way home, Douzi adopts an abandoned baby, who later comes under Master Guan's training.

Memorabilia from the film exhibited at "The Art of Leslie Cheung's Movie Images", April 2013, Hong Kong Central Library.

In 1937, on the eve of the Marco Polo Bridge Incident, Douzi and Shitou become Peking opera stars under stage names Cheng Dieyi and Duan Xiaolou, respectively. Their signature performance is the play Farewell My Concubine, where Dieyi plays the concubine Consort Yu and Xiaolou plays the hero Xiang Yu. Their fame attracts the attention of Yuan Shiqing, a reputable person who attends their performances, and who is enamoured by Dieyi. During a meeting, Yuan Shiqing gifts Dieyi a sword and complements his performance but Dieyi is hesitant to develop a romantic relationship with him. The adult Dieyi has an unrequited love for Xiaolou, but Xiaolou marries Juxian, a headstrong courtesan at an upscale brothel, and Dieyi and Xiaolou's relationship begins to fall apart. The love triangle between Dieyi, Xiaolou, and Juxian leads to jealousy and betrayal, which is further complicated by the successive political upheavals following the Second Sino-Japanese War. When Master Guan dies, the abandoned baby, now Xiao Si, comes under Dieyi's training to continue learning dan roles.

When the communist forces win the civil war, Xiao Si becomes an avid follower of the new government. Dieyi's addiction to opium negatively affects his performances, but he ultimately rehabilitates with the help of Xiaolou and Juxian. Xiao Si nurtures resentment against Dieyi because of his rigorous teachings and usurps his role in Farewell My Concubine during one performance, without anyone telling Dieyi beforehand. Devastated by the betrayal, Dieyi secludes himself and refuses to reconcile with Xiaolou. As the Cultural Revolution continues, the entire opera troupe is put on a struggle session by the Red Guards where, under pressure, Dieyi and Xiaolou accuse each other of counterrevolutionary acts. Dieyi also tells the guards that Juxian was a prostitute. To protect himself from further prosecution, Xiaolou swears that he does not love her and will "make a clean break" with her. Juxian is heartbroken and commits suicide. Afterward, Xiao Si is caught by the Red Guards when he is singing Consort Yu's lines to the mirror alone in a practice room.

In 1977, Dieyi and Xiaolou reunite, seeming to have mended their relationship. They once again practice Farewell My Concubine; Xiaolou begins with the line "I am by nature a boy," to which Dieyi makes the same mistake of finishing with "I am not a girl." As they finish their performance, Dieyi takes Xiaolou's sword and cuts his throat, paralleling the concubine's final act in the opera. Xiaolou turns around in shock, and calls out Dieyi's name, and before the screen fades to black, he meekly whispers Dieyi's childhood name: Douzi.

Cast[]

Production[]

Chen Kaige was first given a copy of Lilian Lee's novel in 1988, and although Chen found the story of the novel to be "compelling", he found the emotional subtext of the novel "a bit thin". After meeting with Lee, they recruited Chinese writer Lu Wei for the screenplay, and in 1991 the first draft of the screenplay came about.^[8][9] The director chose the heroic suicide of Dieyi over original story's banality in order to present the “Lie nu” image of Dieyi to emphasize the women's liberation which was commonly found in the Fifth Generation films.^[10]

Jackie Chan was originally considered for the role of Cheng Dieyi, but he declined the offer. John Lone later lobbied for the role but failed to progress past contractual negotiations with producer Hsu Feng.^[11]

Hong Kong actor Leslie Cheung was used in the film to attract audiences because melodramas were not a popular genre. It was believed that it was the first film where Cheung spoke Mandarin Chinese. However, for most of the movie Cheung's voice is dubbed by Beijing actor Yang Lixin. Director Chen left Cheung's original voice in two scenes, where Cheung's voice is distorted by physical and mental distress.^[12] Due to Gong Li's international stardom, she was cast as one of the main characters in the film.^[13]

Historical background[]

The historical background of the film is multi-layered and complicated, which contributes to the motif and the form of the film.^[2] The 1990s period saw China trying to do damage control to the country's image after the massacre that happened during the 1989 Tiananmen Square protests. David Shambaugh talks about the government's new agenda that focused on "restoring the appearance of unity in the leadership, ensuring the loyalty of the military, reestablishing social order, reasserting central control over the provinces, recentralizing and retrenching the economy, and redefining China's role in a post-Cold War international environment".^[14] In addition to the mentioned changes in the political climate, at the time of the film's release, the atmosphere around the criticism of Cultural Revolution shifted. As Luo Hui notes "criticizing the Cultural Revolution had become permissible, even fashionable", allowing the film to highlight the devastation the world of art, as well as other aspects of Chinese society like medicine and education, suffered at the hands of the Cultural Revolution movement.^[15]

Release[]

Release in China[]

The film premiered in Shanghai in July 1993 but was removed from theatres after two weeks for further censorial review and subsequently banned in August. The film was objected to for its portrayal of homosexuality, suicide, and violence perpetrated under Mao Zedong's Communist government during the Cultural Revolution. Because the film won the Palme d'Or at the 1993 Cannes Film Festival, the ban was met with international outcry.^[16] Feeling there was "no choice" and fearing it hurt China's bid for the 2000 Summer Olympics, officials allowed the film to resume public showings in September. This release featured a censored version; scenes dealing with the Cultural Revolution and homosexuality were cut, and the final scene was revised to "soften the blow of the suicide".^[17]

Box office and reception[]

The film was released to three theaters on 15 October 1993, and grossed $69,408 in the opening weekend. Its final grossing in the US market is $5,216,888.^[1]

In 2005, some 25,000 Hong Kong film-enthusiasts voted it their favorite Chinese-language film of the century (the second was Wong Kar-wai's Days of Being Wild).^[18]

International audience[]

The international perspective of the movie was put into question by critics who are concerned that the visual and artistic settings in the movie are too culturally inherent. On the other hand, the contents are internationally applicable. The enriching contexts, symbols, and political icons are turned into colorful Oriental spectacles that arouse Westerner's fantasies. China's image is used as an object of signification, a cultural exhibition on display and a major selling point. Thus, they charge the movie for dancing to the tunes set forth by the Western cultural imaginary about China.^[19]

Some critics point to the fact that Chen had engineered the film to fit domestic and international audiences' taste, as Chen understands the international audience's perceptions and attitudes towards Chinese history, and sexuality.^[20]

Miramax edited version[]

At the 1993 Cannes Film Festival, the film was awarded the highest prize, the Palme d'Or.^[21] Miramax Films mogul Harvey Weinstein purchased the distribution rights and removed fourteen minutes, resulting in a 157-minute cut. This is the version seen in U.S. and U.K. theaters. According to Peter Biskind's book, Down and Dirty Pictures: Miramax, Sundance and the Rise of Independent Film, Louis Malle, who was president of the Cannes jury that year, said: "The film we admired so much in Cannes is not the film seen in this country [the U.S.], which is twenty minutes shorter – but seems longer because it doesn't make any sense. It was better before those guys made cuts."

The uncut 171-minute version has been released by Miramax on DVD.

Music and soundtrack[]

External video
當愛已成往事 - YouTube
歌唱祖國 - YouTube
中国人民解放军进行曲 - YouTube
大海航行靠舵手 - YouTube

Reception[]

Critical reception[]

Roger Ebert awarded the film four stars, praising the plot as "almost unbelievably ambitious" and executed with "freedom and energy".^[22] The New York Times critic Vincent Canby hailed it for "action, history, exotic color", positively reviewing the acting of Gong Li, Leslie Cheung and Zhang Fengyi.^[23] In New York, David Denby criticized the "spectacle" but felt it would be worthy of excelling in international cinema, portraying a triumph of love and culture despite dark moments.^[24] Hal Hinson, writing for The Washington Post, highlighted "its swooning infatuation with the theater- with its colors, its vitality and even its cruel rigors".^[25] Desson Howe was less positive, writing the first half had impact but gives way to "novel-like meandering", with less point.^[26]

The film was included in The New York Times' list of The Best 1000 Movies Ever Made in 2004^[27] and Time's list of Best Movies of All Time in 2005.^[28] It was ranked No. 97 in Empire magazine's "The 100 Best Films Of World Cinema" in 2010,^[29] and No. 1 in Time Out's "100 Best Mainland Chinese Films" feature in 2014.^[8] The film has an 86% approval rating on Rotten Tomatoes based on 37 reviews, with an average rating of 7.50/10. The critics consensus reads, "Chen Kaing's epic is grand in scope and presentation, and, bolstered by solid performances, the result is a film both horrifying and enthralling."^[30] The BBC placed the film at number 12 on its 2018 list of the 100 greatest foreign language films.^[31] It ranked at number 55 on the Hong Kong Film Awards Association (HKFAA)'s list of the Best 100 Chinese-Language Motion Pictures in 2005.^[32] Regarding public reception, Farewell My Concubine topped a 2005 poll of the most beloved films in Hong Kong conducted by Handerson ArtReach.^[33]

Year-end lists[]

• 6th – Joan Vadeboncoeur, Syracuse Herald American^[34]
• Top 10 (not ranked) – Dennis King, Tulsa World^[35]

Accolades[]

At Cannes, it tied for the Palme d'Or with Jane Campion's The Piano from New Zealand.^[26] Farewell My Concubine remains to date the only Chinese-language film to win the Palme d'Or at the Cannes Film Festival.^[36]

See also[]

• Cinema of China
• Cinema of Hong Kong
• List of submissions to the 66th Academy Awards for Best Foreign Language Film
• List of Hong Kong submissions for the Academy Award for Best Foreign Language Film

References[]

Notes[]

Citations[]

Further reading[]

• Braester, Yomi (17 March 2010). Painting the City Red: Chinese Cinema and the Urban Contract. Rey Chow, Harry Harootunian, Masao Miyoshi. Durham [NC]: Duke University Press. p. 335. ISBN 9780822392750. Retrieved 3 February 2016 – via Google Books.
• Clark, Paul (2005). Reinventing China: A Generation and Its Films. Hong Kong: The Chinese University Press.
• Braester, Yomi. Farewell My Concubine: National Myth and City Memories. In Chinese Films in Focus: 25 New Takes, edited by Chris Berry, 89–96. London: British Film Institute, 2003.
• Leung, Helen Hok-Sze (2010). Farewell My Concubine: A Queer Film Classic (Large Print 16pt). Vancouver: Read How You Want, Arsenal Pulp Press. ISBN 978-1459608368.
• Kaplan, Ann. Reading Formations and Chen Kaige's Farewell My Concubine. In Sheldon Lu, ed., Transnational Chinese Cinema: Identity, Nationhood, Gender. Honolulu: University of Hawaii Press, 1997.
• Larson, Wendy. The Concubine and the Figure of History: Chen Kaige's Farewell My Concubine. In Sheldon Lu, ed., Transnational Chinese Cinema: Identity, Nationhood, Gender. Honolulu: University of Hawaii Press, 1997; also published as Bawang bieji: Ji yu lishi xingxiang, Qingxiang (1997); also in Harry Kuoshu, ed., Chinese Film, ed. Bloomington: Indiana University Press, 2000.
• Lau, Jenny Kwok Wah. Farewell My Concubine': History, Melodrama, and Ideology in Contemporary Pan-Chinese Cinema. Film Quarterly 49, 1 (Fall, 1995).
• Lim, Song Hwee. The Uses of Femininity: Chen Kaige's Farewell My Concubine and Zhang Yuan's East Palace, West Palace. In Lim, Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas. Honolulu: University of Hawai'i, 2006, 69–98.
• Lu, Sheldon Hsiao-peng. "National Cinema, Cultural Critique, Transnational Capital: The Films of Zhang Yimou." In Transnational Chinese Cinema, edited by Sheldon Lu, 105–39. Honolulu: University of Hawaii Press, 199.
• McDougall, Bonnie S. "Cross-dressing and the Disappearing Woman in Modern Chinese Fiction, Drama and Film: Reflections on Chen Kaige's Farewell My Concubine." China Information 8, 4 (Summer 1994): 42–51.
• Metzger, Sean. "Farewell My Fantasy." The Journal of Homosexuality 39, 3/4 (2000): 213–32. Rpt. in Andrew Grossman, ed. Queer Asian Cinema: Shadows in the Shade. NY: , 2000, 213–232.
• Xu, Ben. "Farewell My Concubine and Its Western and Chinese Viewers." 16, 2 (1997).
• Zha, Jianying (1995). China Pop : How Soap Operas, Tabloids, and Bestsellers Are Transforming a Culture. New York: The New Press, W.W. Norton.
• Zhang, Benzi. "Figures of Violence and Tropes of Homophobia: Reading Farewell My Concubine between East and West." Journal of Popular Culture: Comparative Studies in the World's Civilizations 33, 2 (1999): 101–109.

External links[]

Wikimedia Commons has media related to Farewell My Concubine (film).

• Farewell My Concubine at IMDb
• Farewell My Concubine at AllMovie
• Farewell My Concubine at Box Office Mojo
• Farewell My Concubine at Rotten Tomatoes
• A film review with emphasis on the relationship between the play and the film