FAREWELL MY CONCUBINE
A film review by James Berardinelli
Copyright 1993 James Berardinelli
Rating (Linear 0 to 10): 9.5
Date Released: 10/8/93 (U.S. Premiere at NY Film Festival); 10/20/93 (more widespread release) Running Length: 2:38 Rated: NR (Violence, mature themes, sexual situations)
Starring: Leslie Cheung, Zhang Fengyi, Gong Li Director: Chen Kaige Producer: Hsu Feng Screenplay: Lilian Lee and Lu Wei based on the novel by Lilian Lee Released by Miramax Films Chinese with English subtitles
FAREWELL MY CONCUBINE is a story that spans fifty-three years, presenting the lives of two men against the historical backdrop of a country in upheaval. Initially banned in China but shown to international acclaim, Chen Kaige's film is one of the year's few true masterpieces. Deserving of its award at Cannes and of its prominent position in 1993's New York Film Festival, FAREWELL MY CONCUBINE is a motion picture experience that few will soon forget after leaving the theater.
In Beijing of 1924, the youthful Douzi and Shitou are brought together under the thumb of the strict master of a small acting troupe. It becomes quickly apparent that these are the most talented of the master's pupils, and he pushes them harder than his other students. Thirteen years later, their suffering has paid off. Douzi, now going by the name of Chen Dieyi (Leslie Cheung), and Shitou, called Duan Xiadlou (Zhang Fengyi), are major opera stars, and their production, "Farewell My Concubine" is nationally known. The two are inseparable, until the woman Juxian (Gong Li) comes between them.
FAREWELL MY CONCUBINE is neatly divided into eight chapters, including a prologue and epilogue in 1977 that bookend the story. Each section represents a different era in both Chinese history and the lives of the characters. The historical background--from the time of the Warlords through the Cultural Revolution, including the Japanese invasion of 1937 and the Communist takeover, is more than window dressing. It is integral to the plot, its thread as important to the overall weaving as any other.
The first portion of the film is devoted to the early lives of Dieyi and Xiadlou as they form an unshakable bond under the often-cruel punishments of their master. Years later, when we meet them again as well-known actors, the bond has only strengthened. These two are as close as men can be--yet Dieyi wishes for even greater intimacy.
The subject of homosexuality is only once overtly referred to in FAREWELL MY CONCUBINE, but its presence is at once subtle and obvious. While Xiadlou remains blissfully unaware of the nature of his friend's love for him, Dieyi is tortured by it. The introduction of Juxian, a prostitute who becomes the potential future wife of Xiadlou, creates a moral dilemma for Dieyi that he is never able to completely resolve.
Chen Kaige has done a fabulous job portraying these various relationships with depth, sensitivity, and realism. This is no occasionally melodramatic JOY LUCK CLUB, but a real and powerful illustration of human interaction that shows the layers of hatred and love built into the contact between the three principals (and especially the two friends). Just when you think you understand all the facets of the relationships, something else is uncovered. Character development of this sort is almost unheard-of in today's movies.
Dieyi is the most fascinating character. From the beginning, his sense of identity is confused. Not only is he attracted to men, but his role as a woman in "Farewell My Concubine" creates a certain ambivalence about his own gender. In childhood, the refrain of "I am a girl" is drilled into him so that he can effectively assume the role of the concubine in the opera but, as another character observes, the line between reality and acting has become blurred. Dieyi has a prostitute for a mother, is raped by an old man, and has his best friend stolen from him by a woman. It's no wonder that his soul is so tortured.
Xiadlou is a more straightforward personality--at least on the surface. Nevertheless, through his ever-changing relationships with Dieyi and Juxian, he proves that apparent simplicity often hides strong currents. It is eventually one of his actions that propels this movie to its literal and emotional climax.
Juxian appears to be little more than a scheming whore frantic to capture a wealthy husband but, like everyone else, she is capable of a few surprises, including an entirely-unexpected streak of kindness towards Dieyi, who had shown her nothing but contempt. Starting out as a wedge between the two friends, Juxian ends up a crucial element in their relationship.
It's no wonder that this film was initially banned in China (although the government eventually relented and there was one showing; more may be forthcoming). The Communist movement is not shown in a positive light. While not specifically a force for evil, Communist attitudes contribute to one of the movie's most emotionally-shocking scenes.
Those unfamiliar with twentieth-century Chinese history are in for something of a crash course. No film can ever hope to convey the complex mosaic of cultural upheaval caused by everything that happened between 1924 and 1977, but FAREWELL MY CONCUBINE does an excellent job presenting samples of the flavor. Americans viewing this picture will find some portions difficult to follow because of cultural differences, but they will ultimately gain more than they lose.
If there is a down side to FAREWELL MY CONCUBINE, it's that several scenes, as well as the motion picture as a whole, run on a little too long. This is a minor quibble, however, and one easily endured considering the high quality of the finished product. Better to cut judiciously than to hack out something important.
The only member of the cast likely to be known to (some) American viewers is Gong Li, whose credits include RAISE THE RED LANTERN and THE STORY OF QUI JU. She is, as usual, excellent, but no more so than her two co-stars, both of whom effectively realize difficult and complex personalities. For the supporting actors, there's not a weak performance to be found.
Sadly, there are some for whom this movie will turn out to be a dreadful bore. First and foremost, it requires more than two hours and thirty minutes of reading subtitles, which a disproportionate number of viewers find distracting (if not offensive). Secondly, while there are bursts of often-passionate action, the pace of FAREWELL MY CONCUBINE is leisurely, allowing time for characters and situations to breathe.
Certainly among the best films of 1993, FAREWELL MY CONCUBINE can stand up favorably to any of the other contenders. It is also, in my opinion, the best Chinese film ever to reach these shores. I haven't seen any of Chen Kaige's other films (I believe this is his fifth or sixth directorial effort, and the first to get widespread international distribution) but, on the strength of what he has accomplished with this picture, I'll be on the lookout for his next project. If it's half as good as FAREWELL MY CONCUBINE, it will still be a worthy effort.
- James Berardinelli (blake7@cc.bellcore.com)
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