Raise the Red Lantern (1991)

Raise the Red Lantern is masterful piece of film history.A bleak tale of sexual subjugation and ruthless scheming in a single opulent household in 1920s China, Raise the Red Lantern portrays four women locked in struggle for attention from the master of the house, who every day favours one of his concubines with special honour of spending a night with him. And as usual among the hereditary nobility, the highest achievement is pregnancy resulting a male child.The tense plot is perfected by the backdrop of suffocating ancient mansion built out of dull bricks and adorned expensively with etchings and drapery, and staffed with servants. The watcher barely gets a glimpse of the outside world as if nothing even existed outside the walls of the compound where the women are imprisoned in concubinage. And almost as faceless is the master himself, whose face we never see in close up shot.Cinematography and set building stand out as excellent, with stark reds of the drapery and lanterns, contrasting with the muted greys of the mansion itself, later covered by a blanket of snow.

This is a very brief review of "Red Sorghum" (1987), "Ju Dou" (1990), "Raise the Red Lantern" (1991), "The Story of Qiu Ju" (1992) and "To Live" (1994), five films by Zhang Yimou. Each film stars actress Gong Li, each works as a companion-piece to the other, and each deals almost exclusively with the oppression of women within early 20th century China.Zhang's debut, "Red Sorghum" stars Gong Li as Young Nine, a peasant who is sold to a wealthy leper. Things only get worse for Nine, who must fend off a series of rapists, mean men and the Japanese Army itself, all the while running a successful winery. Throughout the film, Zhang uses boxes, deep reds and tight squares to amplify Nine's sexist surroundings. Indeed, the film opens with Nine literally forced into a box, a social reality which she spends the film attempting to break free of or even transform. For Zhang, China wasn't "disrupted" by the Japanese invasion, it was hell long before. Like most of Zhang's films during this period, "Sorghum" sketches the cultural and socioeconomic conditions which spurred China, with hopeful arms, toward Maoism.Zhang's next film, "Ju Dou", covers similar material. Here Gong Li plays Ju Dou, a woman sold to a violent oaf ("When I buy an animal I treat it as I wish!") who owns a fabric dying establishment. After her husband is crippled, Ju Dou forges a relationship with Yang Jinshan, a relative. When Ju Dou and Jinshan have a child together, the kid grows up into a mean brute. Like "Sorghum", "Ju Duo" is a tragedy obsessed with rich reds, boxes and patriarchal violence. Whilst its plot superficially echoes Zhang's own adulterous, then-scandalous affair with Gong Li, Zhang seems more interested in the way Ju Dou and Jinshan hide their illicit affair from other villagers. For Zhang, the duo's tacit submission to social mores merely validates the notion that their love is scandalous and so merely validates the symbolic power of the crippled patriarch, a power which Ju Dou's son must – as per his mother's very own actions – thereby respect and avenge.The arbitrary nature of power, and how this power is always "symbolic" and always unconsciously maintained (via ritual, personal belief and shared delusions), is itself the obsession of Zhang's "Raise the Red Lantern". Here Gong Li again plays a woman sold to a wealthy man. This man has several other wives, all of whom begin to violently fight one another in an attempt to win the patriarch's adoration. "Is it the fate of women to become concubines?" a character asks, pointing to the film's deft critique of feudal relations. Zhang's first masterpiece, "Lantern" is again obsessed with reds, boxes and sequestered women, though here Zhang replaces the voluptuous colours, camera work and widescreen Cinemascopes of his previous films with something more restrained. Because of this, Zhang's conveying of claustrophobia and oppression, of mind and spirit pushed to madness, feels all the more powerful.Next came Zhang's "The Story of Qiu Ju". A near masterpiece, it stars Gong Li as Qui Ju, a peasant farmer who embarks on a quest to avenge her husband, who's had his crotch kicked in by a village leader. More emasculated by this attack than her own husband, Qui Ju's quest takes her all across China, dealing with a Chinese bureaucracy which seems quite helpful, polite and even rational. And yet still this bureaucracy does not please Qiu Ju. It thinks in terms of commodities, monetary recompense and punishment, whilst Qiu Ju (like Zhang Yimou himself, whose previous films were banned, without explanation, by Chinese authorities) seems more interested in acquiring a "shuafa", a simple explanation and apology. By the film's end, both the "primitive justice" of rural China and the "civilized justice" of modern China are simultaneously mocked, praised and shown to be thoroughly incompatible. Zhang's first "neo-realist" film, "Qiu Ju" was shot with hidden cameras, amateur actors, and so is filled with subtle observations, cruel ironies and beautiful sketches of peasant life.One of Zhang's finest films, "To Live" followed. It stars Gong Li as Jiazhen, the wife of a wealthy man (Ge You) who is addicted to gambling. When this gambling results in the family losing its mansions, riches and status, Jiazhen and her husband are forced onto the streets. Ironically, this set-back saves the family; the Cultural Revolution arrives, and with China's shift to nascent communism, all wealthy land owners are demonised, attacked and killed.Unlike most films which tackle life under Mao's Great Leap Forward, "To Live" carefully juggles the good and bad of what was essentially a nation shirking off feudalism, monarchs, uniting and then trying, clumsily, to cook up some form of egalitarian society. This quest results in all manners of contradictions and socio-political paradoxes: community, solidarity and a simple life save our heroes, but their world is one of paranoia, danger, and in which everyone and everything is accused of being "reactionary". The film ends with Jiazhen's daughter dying, a death which is the result of both unchecked consumption (a doctor dies gobbling food) and communist "reorganisation" (all competent doctors have been killed/jailed for being counter-revolutionary). This jab at communism got the film banned in China (further highlighting the insecurity of the regime). Ironically, Maoism saw massive positive health care reformations, and saw an improvement in mortality rates which at times surpassed even then contemporary Britain and parts of America (life expectancy doubled from 32 years in the 1940s to 65 years in the 1970s). But such things don't concern Zhang. Spanning decades, "To Live" is mostly a broad account of life, love, loss and growth (the personal and political), all unfolding upon a canvas that is devastatingly cruel. Significantly, the film's title is both adjectival and a command; this is "what life is", but one must nevertheless "always push on". Gong Li and Ge You in particular are excellent.8.5/10 - See "Black Narcissus".

The biggest problem with Raise the Red Lantern is what happens to Songlian in the end. There's so much tension, interplay that builds up and there's the very frightening raising of the ot lanterns, so when the Freudian epilogue along with the new introduction is posed as if history endlessly repeats (which it certainly did not) it comes off as unconvincing. Taoist? Stoic? Nihilist? I'm not sure what Chinese women would make of this movie really, except as cinematic candy. And it sure shines on that level. The film is just totally beautiful and Yang Zhimou has a sublime way with lines and light. Still, this is a film trying to be about women directed by a man. It doesn't quite work.

It's no secret that Zhang Yimou directs some of the beautiful movies in cinema history. His extensive and vivid use of colour is gorgeous. More than 10 years before he directed his modern-classics, Hero and House of Flying Daggers, Raise the Red Lantern was there. The film has a simple storyline, a restricted location and a great cinematography. Oh, and it also employs beautiful use of colour. Sometimes I think Zhang Yimou is a product of an explosion in a colour factory. Raise the Red Lantern quite literally pits 4 women against each other and the film observes enviness, jealousy, hatred, anger, love & sorrow. Also, to some extend, Totalitarianism. Every woman wants to be the top mistress in front of the master and wants the red lanterns hung in front of their house. The 4th Mistress quickly catches the eye of her personal maid, Ya'ver, the 3rd Mistress & the 2nd Mistress. One thing leads to another and the 3rd Mistress ends up dead, the maid ends up dead, and the 4th Mistress goes insane, causing The Master to marry once more. Enter 5th Mistress, but thank goodness the film ends there, because another 2 hours would've been hectic. Not that I would've minded it, but enough is enough! I think the appropriate title should've been Personality Clash or This is how Women silently kill each other, or something like that.The pacing of the film is good. The slow and smooth camera movements did the trick. Red Lantern also employs repetition and I think it was a good move. It kept reminding us of what we're watching and what the film's story is all about. Unlike Hero or House of Flying Daggers which were clearly story-driven, this film was more character-and-music driven. The heavy metal? background music was awesome and I think it perfectly matches the mood and characteristics of the film and the women, respectively. From the performances, Gong-Li had the upper-hand, while He Caifi was just a rung below, but both were amazing in their characters. They both, out of all, portrayed the frustration, the anger, the hidden hatred, and then a sudden affection for each other, almost perfectly. The film was entirely on their shoulders and both handled the weight flawlessly!My ending note will be: Not just a great film. A landmark film! It has characters which are divided in two: Either you end up hating them, or loving them. A quite-powerful film that demands a repeat!