STAGE DOOR
A film review by Lisa-Marie Tan
Copyright 1996 The Flying Inkpot
(Hong Kong, 1996)
Directed by: Shu Kei Cast: Josephine Siao Fong-Fong, Anita Yuen Wing-yee, Chung King-fai, David Wu Tai-wai, Waise Lee Chi-hung, Daniel Chan Hiu-tung Literal Meaning: Entrance from the Platform Side Cantonese: Futomoon Mandarin: Hudumen Rating: ***1/2 out of ***** Run Time: Approximately 110 minutes
HU DU MEN is one of those shows which does not attract the critical attention it deserves just because it is not a blatantly art-house movie, directed by a fascinating artistic and political 5th generation mainland Chinese director. No, rather, it is produced by and within commercial mainstream, Hong Kong cinema. Nevertheless, this is a thematically-satisfying effort which touches, subtly, on issues as limited stardom, family obligations, personal priorities--all outlined against the backdrop of theatrical developments in Cantonese Opera. (This art form, by the way, is a form of street/popular opera only superficially related to the highly-stylized Beijing opera seen in FAREWELL TO MY CONCUBINE).
Director Shu Kei attempts some Brechtian alienation effects (after all, didn't Brecht himself borrow his ideas from Chinese opera?) by inserting semi-documentary explanations and stuff like the concept of "Hu Du Men" itself, or at the end of the movie when the philosophies of Josephine Siao's character are summed up in similar playcard-like subtitles.
If you're looking for a simple, threading theme to explain this movie, then it's probably about *dislocations* -- the dislocation/ disorientation as Siao nears her unwilling retirement at the height of her career; the dislocation of emotions when the son which she had chosen to give long before re-appears--in the guise of her protegee's (Anita Yuen's) suitor. The dislocation of her own voice and responsibilities in her family (she is the stepmother to her husband's daughter, who has her own alternative sexual preferences)...
The greatness of this movie must be in its subtlety in treatment of subjects. Amidst the more recognizable, repressed turbulences in Siao's life is the modernisation of the traditional art form of opera. David Wu plays an un-enthusiastic (but still cute!) theatre-studies type whose idealism aims to effect radical changes to the staging practices of Cantonese Opera. It is precisely the story-telling lyricism of Director that enables the juxtaposition between cultural and personal change to be dramatized so effectively and subtly.
Director Shu Kei and Josephine Siao more than save the movie from the hands of bland performances of Anita Yuen and others. Watch this if you want to see what Fong Sai Yul's has been up to ever since those Kung Fu days.
THE FLYING INKPOT's rating system: * Wait for the video. ** A little creaky, but still better than staying at home with Gotcha! *** Pretty good, bring a friend. **** Amazing, potent stuff. ***** Perfection. See it twice.
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