Course:ASIA355/2024/Place and Identity: The Duality of Home and Alienation in Temptress Moon
Place and Identity: The Duality of Home and Alienation in Temptress Moon
An exploration of Chen Kaige's film Temptress Moon (Chinese: 風月), released in 1996.
Group Members' Contributions
| Category | Contributors |
|---|---|
| Introduction | KSY, CR |
| Stories Behind the Film | KSY |
| History of the Film's Reception | KSY |
| Scholarly Literature Review | KSY |
| Comparative Analysis | CR |
| Alternative Interpretation | AS |
| Conclusion | AS, CR |
Introduction
Temptress Moon is directed by Fifth Generation filmmaker Chen Kaige and produced by Hsu Feng of Hong Kong's Tomson Film, stars Gong Li (Ruyi) and Leslie Cheung (Zhongliang). The narrative centers on Zhongliang's arrival at the Pang estate, where his sister Xiuyi (He Saifei) is married. The Pang family is plagued by opium addiction, affecting everyone from the head of the household to the young Ruyi. Zhongliang's brother-in-law, Zhengda, is also an opium addict, and Zhongliang is forced to serve as a servant, preparing Zhengda's opium pipes. During his time at the estate, Zhongliang is coerced into an incestuous relationship with his sister, living in constant terror until he escapes to Shanghai. Years later, Zhongliang has become a gangster in Shanghai and returns to the Pang estate under his boss's orders.
Kaige's film attempts to tell a sort of historical epic using the backdrop of one of the most chaotic periods of Chinese history--the fall of the last emperor, using the form of a young man displaced with mixed feelings about his past and future. Both of which he will come to reckon with over the course of the film. With themes such has sense of home, personal identity, and interpersonal relationships all being heavily featured.
Stories Behind the Film
Set against the backdrop of early 20th-century China following the abdication of the emperor, Temptress Moon shifts between a rural provincial town and rapidly modernizing urban China. The film portrays the destructive love affair between Ruyi (Gong Li) the head of the decaying Pang family, and Zhongliang (Leslie Cheung), a Shanghai mobster who once lived as a servant in the Pang household[1]. This ill-fated relationship, set against contrasting landscapes and socioeconomic divides between city and rural life, explores intimate human emotions, highlighting the complexities and turbulence of the era.
Temptress Moon, directed by Chen Kaige followed his internationally acclaimed film, Farewell My Concubine. Shortly after the release, Farewell My Concubine is banned from screening in China. Chen, having faced significant political repercussions due to Farewell My Concubine, aimed to distance himself from such controversies with his new film. In many respects, Temptress Moon serves as a counterbalance to the political context of the Cultural Revolution, reflecting Chen's effort to navigate the complex socio-political landscape of contemporary Chinese cinema. [1]
Temptress Moon is produced by Hsu Feng from HongKong’s Tomson films and marks the first collaboration between Chen and Australia-born cinematographer Chess Doyle [1]. Chen has remarked that he and Doyle were consistently aligned in their vision, with Doyle adding a valuable perspective to the film. However, the production of Temptress Moon was tumultuous. During filming, Chen's father, a respected filmmaker and advisor on the project with whom Chen had a previously strained relationship, was hospitalized with cancer[1]. This personal struggle added an emotional layer to the already challenging production period.
One of the biggest technical struggles in the production of Temptress Moon involved casting the leading actress, a decision which Chen Kaige described as the hardest of his life [1]. The production began in August 1994 with Taiwanese model Wang Jingqing, whom Chen praised for her beauty but acknowledged her lack of acting experience [1]. Despite Chen's efforts to coach her, her inexperience posed significant challenges. After 40 days on set, Chen ultimately decided to dismiss her from the project, leaving the production without a lead actress.
Fortunately, Chen had the full support of producer Hsu Feng, and together they searched extensively across Hong Kong and Beijing for a suitable replacement but found no one suitable[1]. Chen initially wanted to cast Gong Li, with whom he had previously collaborated, but she had initially declined due to her commitments to other films. Determined, Chen persisted and eventually convinced her, a process that involved sending numerous representatives to persuade her [1]. By the time Gong Li agreed, winter was approaching, and the cold weather delayed production until April 1995. Despite these setbacks, Chen never considered abandoning the project, stating that Temptress Moon was very important to him [1].
Histories of the Film’s Reception
Chen Kaige's work has frequently faced criticism from Chinese audiences and authorities for allegedly catering to Western tastes and presenting an exoticized image of China [2]. Temptress Moon was no exception to this critique. The Chinese regime generally disapproves of films that critically examine past or present governments, preferring not to draw parallels between historical and current excesses or repressions[2]. After the release of Temptress Moon, Chen expressed uncertainty about its reception in mainland China[1]. His concerns were validated when the film was banned shortly after its release due to its depiction of opium addiction and its critical portrayal of Chinese society during a sensitive historical period. The authorities were worried about the film's potential to cast a negative light on China's past, leading to its initial ban in 1996. The ban was eventually lifted in 2002.
Internationally, Temptress Moon was well-received. It premiered at the 1996 Cannes Film Festival, where it was nominated for the prestigious Palme d'Or[3]. The film's cinematography, directed by Australian-born Chris Doyle, garnered significant praise from international critics. Chen Kaige, already an acclaimed filmmaker for his previous work such as Farewell My Concubine, found that Temptress Moon was often viewed through the lens of expectations set by his earlier films. The international audience appreciated the film's visual and thematic depth, reinforcing Chen's status as a prominent figure in world cinema.
Scholarly Literature Review
Nostalgia and Reinvention in 20th Century Shanghai
In Liu's article, "Shanghai in Contemporary Films," he discusses the thematic focus of Temptress Moon on the "Shanghai theme," which was gaining popularity at the time. The characters in the film are constantly contemplating either moving to or leaving Shanghai, a city they strive to conquer in order to experience freedom and the allure of a new world[4]. Each character searches for their own definition of the city and seeks self-discovery within its confines. For Zhongliang, Shanghai represents an opportunity to reinvent himself and escape his painful past as a servant. It is a place where he can gain power and assert control over his life, encapsulated in his belief that "we men rule in Shanghai."
A realistic reason for Shanghai being a central backdrop in the storyline is the rise of the "Shanghai theme" in the 1990s[4]. This theme was supported by the rapidly growing Shanghai economy and symbolized the city's swift development. However, the cultural narrative of Shanghai was filled with nostalgia, more connected to its past than its present[4]. Chen is also deeply concerned with the origins and early development of the city rather than the bustling lives in modern metropolises. Liu notes that while 1980s China was filled with hope and aspirations for a new and better future, the 1990s experienced a slowdown in this optimism, accompanied by a desire to look back[4]. This abrupt shift was a consequence of the political crisis of 1989 and the government's brutal crackdown during the Tiananmen Square Massacre [4].
The Dichotomy of Tradition and Modernity: Architectural and Cultural Reflections
Chow points out the visual and architectural details that distinctly differentiate the two primary locations in Temptress Moon : the traditional countryside of Jiangnan, home to the Pang clan, and the modern metropolis of Shanghai. The Pang family estate is an ancient manor, radiating an aura of unbreakable heritage. This estate is characterized by its dark, gloomy interiors, where life moves at a slow pace[5]. The dynamics within the household are also deeply traditional, marked by practices such as physical punishment and the perception of women as "weak." There is a clear hierarchy within the Pang lineage, highlighting the notions of superiority and inferiority.
In stark contrast, Shanghai is portrayed as a vibrant, modern world of bright colors, with women wearing bright red lipsticks and colorful clothing[5]. The city is alive with loud and vibrant foreign dance halls, offering women the freedom to lead independent lives. The city offers everyone the opportunity to succeed and advance, regardless of their lineage or family background. The fast-paced lifestyle and mercenary human relations further underscore the city's dynamism[5]. Shanghai's westernized domestic spaces are characterized by a sense of impermanence, suggesting a larger cultural transformation[5]. Everything in the city, from clothing, shoes, and hairstyles to various lifestyle accessories, reflects the fascination with modernization, setting Shanghai apart from the rest of China[5].
Comparative Analysis
Alternative Interpretation
The countryside of Jiangnan and the urban city of Shanghai are two Chinese cities largely featured in the film due to the fact that our protagonist, Yu Zhongliang, resides in both throughout his life. Although both cities can be interpreted as home for him, seeing as his biological older sister, Xiayi, and his in-laws, the Pang clan, have their ancestral family home in one while his adoptive mafia family is well-established in the other, Zhongliang is shown to be someone who considers neither as a place where he truly belongs nor his true family[5].
This idea is elaborated in Rey Chow’s article, “The Seductions of Homecoming: Place, Authenticity, and Chen Kaige’s “Temptress Moon”.”, where she creates a parallel between Zhongliang’s feelings of belongingness—or lack thereof—associated with his familial relationships in both Jiangnan and Shanghai[5].
Chow explains how the Pang family home was supposed to be a place of refuge for the young and orphaned boy but turned out to be a nightmare as he was treated as a servant by his older sister and her husband, the young master Pang[5]. Not only that but more significantly, he was essentially sexually harassed by both of them inducing a traumatic experience that permanently stuck with him into adulthood and negatively affected his sexual and intimate relationships with women.
To escape his horrible reality, Zhongliang tries to flee to Beijing but gets abducted by the mafia who adopts him as their own. Despite the warm welcome, particularly from the boss, Chow points out that the mafia is simply a repackaged version of the home he left behind[5]. In fact, Zhongliang works for the mafia as a gigolo which involves seducing married women in order to extort money from them by threatening to expose their infidelity to their husbands. This shows us he is just as much a servant of the Mafia as he was at the Pang household[5]. Zhongliang even has to use the act of seduction during mafia-related activities which is a constant reminder of his childhood trauma.
Even though Chow illustrated a parallel between the two groups, one could argue that the mafia created a better family atmosphere for Zhongliang in spite of their abduction of him, the illegal activities they made him do, and their interference with his romantic relationships. Specifically, the mafia boss could be interpreted as the more proper parental figure or familial relationship than his older sister who is of his own flesh and blood. As a matter of fact, the difference between the two is most apparent from their reaction to Zhongliang’s false departure to Peking with Ruyi.
After disappearing from the dock of the boat that was supposed to set off on a journey to Peking and leaving behind a confused and heartbroken Ruyi, Zhongliang solemnly returns to Shanghai to report back to the boss about his mission at the Pang estate. In this short scene, he, dazed and upset, tries to tell the boss that he made a mistake but the boss cuts him off and welcomes him back as he enters the room. He lets Zhongliang know that he belongs in Shanghai and it was not the same without him while making him take a shot of alcohol. Since he is in a vulnerable state, Zhongliang breaks down and hugs the old man tightly, whispering to his ear that he lied about the woman on Heavenly Lane this whole time as well as letting him know that he will finally do the job properly. Instead of getting angry, the boss tells him that it is alright and continues to hug and console him.
This pattern of behaviour towards Zhongliang is consistently displayed by the boss throughout the film. Since the beginning, he is very affectionate towards Zhongliang and treats him like his own son, showcasing a type of father-and-son relationship between them. This connection is significant because Zhongliang was orphaned at a young age with his older sister as his only immediate family left. Even with his older sister, she was too preoccupied with her in-laws to build a deep familial connection with Zhongliang while he was growing up, so the boss served as a reliable and caring older adult figure in his life.
As well as towards the end when Zhongliang becomes consumed by despair and loses reason, the boss puts the blame on himself and tells one of his lackeys that everything was his mistake and that he should have never sent Zhongliang to the Pang’s because he didn’t need the money after all and Zhongliang is the most important. This shows the degree of love the boss has for him; the lackey even confirms the fact that the boss thinks of Zhongliang as his own child and though misguided, just wants what is best for his “son.”
In this scene with Xiayi where Zhongliang lets her know that he is leaving for Peking the next day with Ruyi, she snaps at him and essentially tells him that he needs to take her with him because he owes his life to her and that he ruined hers. Xiayi also says to him that she lived in vain at the Pang household for ten years and not once did Zhongliang reach out to her even when she was the one that “smuggled” him into their home to give him a place to live after their parents died. When he comes back after so long, she tells him that he only came to fall in love with Ruyi. Xiayi even exclaims that she is the only person who truly loves him and eventually loses it, throwing a fit in her room as well as killing the two pet fish in her room. In the end, she asks him to kiss her and Zhongliang, fed up, leaves her.
Similar to the boss, Xiayi’s behaviour also persists throughout the film. However, instead of being affectionate for Zhongliang, like the boss, she seems to be obsessed with him. This scene is a perfect example of this obsession because she goes ballistic when she finds out that Zhongliang has not only fallen in love with Ruyi but has decided to elope with her. She even asks him to kiss her in the end, bringing back the past memories of her and her husband sexually assaulting him as a young boy but also disregarding his feelings from that experience.
Xiayi is different from the boss due to the fact that he thinks about Zhongliang’s feelings about the horrible events that had occured to him as well as admits that he had a hand in those events happening to him. On the other hand, Xiayi keeps making herself the victim and not once thinks about her brother’s trauma as he was the real victim all along.
Conclusion
Chen Kaige's Temptress Moon is an exploration of the complexities of human relationships, societal transformation, and the quest for identity amidst the backdrop of early 20th-century China. The film, through its intricate narrative and rich visuals, delves into the dichotomy between tradition and modernity, as represented by the contrasting landscapes of the rural Pang estate and the bustling metropolis of Shanghai. This dichotomy not only reflects the physical and cultural changes sweeping through China but also mirrors the internal struggles and transformations of its characters, particularly Yu Zhongliang.
Chen Kaige's determination to bring his vision to life, despite facing significant obstacles, including the initial casting difficulties and the political climate of the time, underscores the film's significance to the director. The eventual casting of Gong Li, after a tumultuous search and delay, added a layer of depth and emotional resonance to the character of Ruyi, further enriching the film's narrative. The film's reception, both in China and internationally, highlights the complexities of representing China's past and the challenges of navigating the expectations of diverse audiences. While facing criticism in China for its portrayal of sensitive historical themes, Temptress Moon was celebrated internationally for its artistic merit and thematic depth, solidifying Chen Kaige's reputation as a leading figure in Chinese cinema.
Temptress Moon emerges as a multifaceted work that not only examines the interplay between tradition and modernity but also delves into themes of nostalgia, reinvention, and the search for belonging. The characters' complex relationships and their interactions with the changing socio-political landscape offer a nuanced commentary on the human condition, along with how to find your identity amid hardship -- both interpersonal and societal as well as reckon with the past. As a follow up to Farewell My Concubine, some my find it drawn out or convoluted considering all of these themes. To us however, this speaks to Kaige's ambition to create complex characters amid such the chaos of this historical backdrop. At a time where society may sometimes seem to be due for another major shift, this film might help viewers put their own relationships to their long forgotten or newly found homes in context. If this intrigues to you, it comes highly recommended.
References
- ↑ 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 ""Chen Puts His Troubles Behind Him: Mainland Director Chen Kaige has had His Share of Difficulties with A Temptress Moon but, He Tells Fionnuala Halligan, He is Proud of His Latest Cannes Entry." ". South China Morning Post (1946-), 1996, pp. 39. no-break space character in
|title=at position 196 (help) - ↑ 2.0 2.1 Calkins, Mary Lynne. "Calkins, Mary Lynne. "Censorship in Chinese cinema."". Hastings Comm. & Ent. LJ 21 (1998): 239.
- ↑ Cannes Film Festival Archives. (1996). Festival de Cannes - Temptress Moon.
- ↑ 4.0 4.1 4.2 4.3 4.4 Liu, X. (2010). Shanghai in contemporary chinese films (Order No. 1477915). Available from ProQuest Dissertations & Theses Global. (609372710).
- ↑ 5.0 5.1 5.2 5.3 5.4 5.5 5.6 5.7 5.8 5.9 Chow, Rey. “The Seductions of Homecoming: Place, Authenticity, and Chen Kaige’s ‘Temptress Moon.’” Narrative, vol. 6, no. 1, 1998, pp. 3–17. JSTOR, http://www.jstor.org/stable/20107132. Accessed 4 Aug. 2024.