"The King Of Masks" ('Bian Lian') Shaw Brothers Ltd. presents a Mona Fong production of a Wu Tian-Ming film 'THE KING OF MASKS' Zhu Xu Zhou Ren-ying Zhang Zhi-gang Cinematographer: Mu Da-Yuan Music by Zhao Ji-ping Produced by Mona Fong & Titus Ho Written by Wei Ming-lun Directed by Wu Tian-Ming
Running time: 101 minutes
Most of us are familiar with the works of Hong Kong filmmakers, such as John Woo and Jackie Chan but there is so much more to Hong Kong cinema than the action and Wu-Shu genre that floods the video stores here in the west. "The King of Masks" is one of those rare films that embraces it's cultural identity while making it identifiable for anyone. Director Wu Tian-ming ('Life' - 1984) has crafted one of the most moving drama about China that we've ever seen. While not on a production level of "Farewell, My Concubine", 'The King of Masks' is solid film making by one of the art forms true masters.
The story is pretty straight forward. Wang Bian-lian (Zhu Xu) is an aging street performer trained in the Sichuan opera technique of face changing, rapidly applying and removing elaborately decorated paper masks. Un-married and without children Bian-lian is resigned to the fact that he will not be able to pass his art down as he has no heir. One evening, after a performance he comes across a destitute man who is willing to sell his son. The two men barter out a price, and Bian-lian returns to his houseboat with his new adoptive son, whom he nick-names 'Doggie' (Zhou Ren-ying). Immediately showing the youngster the tricks of the trade, the new family start their life together. After several street performances, Bian-lian gambles at a street market, showing his ability cutting bamboo. He is tricked by the head merchant and accidentally cuts his foot. He asks for his new grandson, 'Doggie' to urinate on the ashes of burnt cloth to help stop the bleeding. Doggie refuses, finally confessing that he is in reality a girl. Bian-lian is heartbroken. It is against tradition to train women in a family art, as only men can perform. Bian-lian tries to leave Doggie behind, but his groaning love for the child causes him to keep her on as hired help and not as family. As the relationship between these two grows both closer and more distant, Doggie takes it on herself to kidnap a young boy she finds lost in the streets one day. She presents the boy to his estranged foster grandfather and then leaves to fend for herself. Bian-lian is both overjoyed and heartbroken. He has now gained an heir that he can pass his art onto, but he has now lost a child that he truly loved. The story takes a heart rending turn when, finding the young boy, the local officials arrest Bian-lian and charge him with child slavery and kidnapping of several missing children (helping the local officials to close these unsolved cases and maintain their positions in the government). Bian-lian is sentenced to death until Doggie returns and with the help of Opera star Luo Sulan, convinces the corrupt officials to release the old man.
The above plot breakdown does nothing to express the rich, emotional depth of this film. "King of Mask" does not become maudlin or syrupy. It's characters capture you with their believability and depth. This is a film that will challenge the most hardened of hearts. The performances of Zhu Xu and Zhou Ren-ying are remarkably fine tuned. Zhou Ren-ying puts in a performance that belays her mere 8 years of age. Her command of her emotions are absolutely remarkable. We have never seen a child actor this talented and this believable. Zhu Xu as the aging performer is also astounding. making us believe in a magical art, long since vanished from our world and yet remaining steadfastly human, with all of the encompassing frailties, insecurities, and hope that we could only aspire to.
The script by Wei Ming-lun is wonderfully constructed. Simplistic in it's set up and effortlessly delivered. This is a story that traverses national and cultural boundaries. This is a story of the heart, and an indictment against a sexist tradition that still lingers in some parts of the world.
Director Wu Tian-Ming returns to his beloved China after spending 6 years in exile in America on behalf of his political views. His return to filmmaking is a triumphant success. Images and sounds of such emotional power linger throughout this film and it is a shame that it may not get the wide release here in the U.S. it so richly deserves. "The King of Mask" is a modern classic. A story that will be remembered years after it is seen.
On a scale of *****, "BIAN LIAN" (The King of Masks) rates a full *****.
copyright ) 1998 R. L. Strong Nothing in this review may be copied without the written permission of the author.
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