Red Dust (1990, Ho Yim) versus
The King of Masks (1996, Tian-Ming Wu)
Set in China during the events of World War II, director Ho Yim Wu tells the story of author Shen Shao-Hua (Brigitte Lin) who as a girl was locked up the attic of her home under the order of her father. Now a grownup, Shao-Hua has fallen in love with a handsome Chinese man, Chang Neng-Tsai (played by Han Chin), employed by the Japanese ruling authorities as some kind of informant, a spy if you will (Japan had at this point invaded mainland China). Understandably, this relationship is frowned upon by onlookers, most notably her good friend Yueh-Feng (Maggie Cheung). Think of the story as Romeo and Juliet, but with national pride at stake as opposed to family honour.
I may have just committed a grave mistake by comparing this story to Romeo and Juliet, because Red Dust will most likely never go down as a classic example of story telling. In fact, it was the structure of the storytelling procedure that had me shaking my head about half way into the film. I appreciated the setting of the Japanese occupation because it enabled for a worthy dynamic between the two leads. Shao-Hua is very much in love with Neng-Tsai but is also well aware of the difficulties involved with their relationship given her man’s allegiance to the occupiers. However, with a good 40-45 minutes left in the movie, the setting changes to the revolution (between Kuomintang and Communists). Neng-Tsai having worked for the Japanese only a few years ago doesn’t seem to be a major factor in this section of the film, which is odd. Wouldn’t traitors like him be searched for and put on trial? Their relationship doesn’t carry as much weight in this chapter either. There is nothing wrong with telling a story in this setting (My Rice Noodle Shop did so with moderate success), but the dynamic that existed before is lost. There is also the issue of Neng-Tsai leaving on duty for several parts of the film, and in his absence the male lead becomes Shao-Hua’s neighbour, a shy, somewhat clumsy looking man who has always had adoring eyes for her. His presence was a cause for concern for two reasons. The first being that he isn’t terribly funny, even though the movie is hoping he will be, and the second being that he doesn’t carry nearly the acting chops or presence that Han Chin does. These were poor directorial choices, among others, made by Ho Yim I felt.
I seem to recall Filmspotting host Adam, when commenting on the score for Milk, mentioning something in the nature of ‘the music in film should be felt but not heard.’ Well, unfortunately, I ‘heard’ the musical score in Red Dust. I heard it loud and clear. The music is dictating how the viewer should feel in almost every scene. In fact, I would go so far as to say that overall subtlety is not the film’s strong point. The climax, which sees Shao-Hua and Neng-Tsai attempting to board a steam ship to flee China, is one of many scenes that are, for my tastes, over the top and far too flamboyant with emotion. The movie wears its emotions on its sleeve. Think
Pearl Harbour minus the special effects and Ben Affleck.
That isn’t to say
Red Dust has no redeeming qualities. The two leads are more than capable of holding their own (although I would say they get together a bit quick). Both are good looking, articulate and interesting characters in their own right. Maggie Cheung has a good supporting role, although she isn’t in the movie for long. Being a historical buff, I did like the context in which the story takes place. Maggie Cheung’s character warns Shao-Hua that she mustn’t stay with her lover for he has betrayed the nation, which is absolutely true after all.
As a package,
Red Dust went for in your face emotion as opposed to something more mature, which is not a style I tend to find appealing.
In Tian-Ming Wu’s
The King of Masks, an elderly street performer named Bianlian Wang (Xu Zhu) who puts on brief but impressive street shows during which he dances around and changes paper masks faster than you can chomp down that spring roll you’re looking at. But his talent is fast becoming a forgotten art. No one else can perform that trick as well as he can and to make matters worse, he has no heir since his son passed away close to 30 years ago. His commitment to his work is so strong he politely refuses an invitation to join a theatre group lead by a famous actor, played by Liang Sao Lang (who plays a woman in the show). What he wants is a young lad to teach and pass his skills on to. Don’t ask why (patriarchal society I suppose) but it has to be a boy.
As luck would have it, one night poor a man sells the King his son (Renyin Zhou) for 5 dollars (yeesh, asking for a lot there aren’t you?). Happy beyond belief, the King takes the youth back to his barge along the water where he lives. Relief turns to shock one day when Doggie (the affectionate name given to the youth) reveals the he is really a she. Zoink! No teacup spout! At first this disappoints the King, but eventually he warms up to the precious child who needs a home. But will he dare one day teach her his art? Will he remove his mask of prejudice and show a more humane and just face? Ooh, I’m on fire tonight!
Despite that the premise of the movie may sound far too ‘cutesy’ for someone like me to appreciate, I will admit that the relationship between the elderly man and the child did, to a certain extent, win me over. I suspect that had a lot to do with the culture that surrounds the characters. There is prejudice to the point that men are playing the roles of women in theatre. I also found the mask show put on by the King was fascinating. He really looks good earning his living, however meagre it may be. The entire setting had me hooked enough to enjoy the film. The culture they lived in made their personal relationship worthwhile for me. In addition, both Zhu, as the King of Masks, and Zhou, as the young girl, are pretty decent actors, with perhaps a higher nod going to the former. Certain scenes are melodramatic and try to force feed some obvious emotions, but others are played quite straight, which was nice. Overall, it felt real enough. It was just nice to witness them bonding in this setting which at times is beautiful but also lonely and unforgiving. Bonus points for the monkey who accepts the tips.
The plot in the second half of the film rests on slightly less sturdy ground. At one point it is learned that a young boy has been kidnapped. This sets off a series of events in the film that propel our two main characters to the story’s conclusion. This might read a bit strange and I’m not sure if I’m explaining myself clearly enough, but the final 40 or so minutes of the film felt like a compilation of scenes which, individually, were purely meant to get to the next scene. The tone of the film was more comprehensive and satisfying when Doggie and the King were getting to know each other. It was interesting to see the relationship blossom, whereas in the final third of the movie the viewer is basically a witness to various forgettable incidents that didn’t necessarily make the characters more interesting. The one exception would have to be when, once the King has been jailed (no more spoilers than that) Doggie seeks help from the famous theatre actor. There is a certain understanding, or connection, between the two. He makes a living by playing a women and Doggie was searching for a home by pretending to be a boy. It’s loose, but it was kind of neat. The climax is a bit of a dud though. There is an idea that comes full circle in the climax, but overall it was flat. Not too mention that the final few scenes feature cringe inducing emotional dialogue.
Regardless of whatever short comings plague
The King of Masks (and it does have its share of faults), there was just, and I mean
just enough for me to like it.
The King of Masks dances circles with a joker face around an unfocused and confused
Red Dust. By the time the dance is done, The King is wearing a happy bird face and challenges
Red Dust to entertain the audience.
Red Dust can’t. Little monkey collects the tips and audience goes home moderately satisfied, knowing full well that despite the victory,
The King of Masks will most likely have a short career in the Far East brackets.
The King of Masks