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The Identity of the Island: Hou Hsiao-hsien and the Taiwanese New Wave
The history of the Taiwanese cinema is intertwined with the turbulent history of the country, which became a Japanese colony in the year when the Lumière brothers invented their cinematograph. Oscillating in the sphere of the influences from mainland China, Japan and America, the island dwellers have been trying to define their cultural identity from the 1980s. The directors of the Taiwanese New Wave, which was the first attempt to bring the art-house cinema to Formosa island, tried to capture the changes in their films.
The attempt proved to be successful, thought brief, covering the period from 1982 to 1987. It was when young directors took the floor: Edward Yang, Hou Hsiao-hsien, Chang Yi, Tao Te-chen, Ko I-chen, Chang Yi, Chen Kun-hou, among others. In their anthology films: "In Our Time" (Guang yin de gu shi, 1982) and "The Sandwich Man" (Er and from ou de da wan, 1983), as well as in feature films: "The Boys from Fengkuei" (Feng gui lai de ren, 1983), "Growing Up" (Xiao Bi de gu shi, 1983), "That Day on the Beach" (Hai tan de yi tian, 1983),"Taipei Story" (Qing zhu mei ma, 1985),"The Terrorisers" (Kong bu fen zi, 1986), formed an outline of the new Taiwanese cinema, based on contemporary stories with ordinary people, pictured with long, static shots. For the very first time, the Taiwanese filmmakers brought into the daylight complicated issues of cultural and political identity of the island, including relations with mainland China.
It was thanks to the Taiwanese New Wave that Hou Hsiao-hsien gained his worldwide recognition. His "coming-of-age trilogy" perfectly fits the New Wave poetics. It includes the films inspired by three autobiographical stories from the director's childhood and youth: "Summer at Grandpa" (Dongdong de Jiaqi, 1984) – based on the story by a well-known Taiwanese writer Chu T'ien-wen, who also wrote many screenplays for Hou's films, "A Time to Live, a Time to Die" (Tongnian wangshi, 1985) – portraying the director's memories, and "Dust in the Wind" (Lianlian fegchen, 1986) – inspired by experiences of the screenwriter Wu Nien-jen. The Taiwanese noticed echoes their own stories which had been absent by that time in Taiwanese films as the cinema was dominated by commercial productions imported from Hong Kong and Hollywood. However, the audience soon became tired of watching memories of their youth and it was only after five years that the New Wave films had to face lack of interest.
But it was life what brought an unexpected inspiration for the filmmakers. The president Chang Ching-kuo (Chang Kai-shek's son and successor) died in 1988 and the state of emergency, imposed 38 years earlier, was abolished, the censorship liberalised and national taboos could become the subject of Taiwanese films. Among the taboos was so-called February 28 Incident during which thousands of the Taiwanese were murdered by the Kuomintang army. The massacre was a forbidden subject in Formosa and it was only in 1989 when emerged an opportunity to discuss it openly also on the screen. Therefore, Hou decided to focus his film "A City of Sadness" (Bei qing cheng shi, 1989) on the history of Taiwan in the 1940s. The film tracks dramatic stories of four Lin brothers during the turbulent White Terror period, from 1945 to 1949. The premiere took place at the Venice Film Festival (exactly three months after the massacre in Beijing's Tienanmen Square) and the film was awarded with the Golden Lion, the first to date award for a Chinese-language production in Venice.
It was also a huge artistic and producing challenge for the director as the lead actor, Tony Leung Chiu Wai from Hong Kong, did not speak Japanese nor Taiwanese. However, Hou transformed this inconvenience into an artistic value, making the character a deaf and dumb person. Because of this, the character became a deeply symbolic representation, along with the decision not to picture the massacre on the screen, which originally was made due to lack of a good localization that would be a reminiscent of Taipei from 1947. "A City of Sadness" remains Hou's most important work, not only because of the international acclaim, but also on the account of the history of Taiwanese cinematography and Taiwan where it raised many controversies.
The film inspired the director to make two consecutive productions about the most dramatic periods in the history of the island. "The Taiwanese Trilogy" involves also "The Puppetmaster" (Xsi meng jen sheng, 1993) – a biographical story about the puppeteer Li Tian-lu, set during the Japanese occupation of the island, and "Good Men, Good Women" (Hao nan hao nu, 1995) – based on a true story of a couple of Taiwanese dissidents, set in the times of White Terror.
Exorcising national traumas on the screen, the director closes a phase and points out a new direction – the present. However it proves to be equally complicated subject as Taiwan has faced great economic and cultural changes over the past decades. The rapid industrialization of formerly agricultural country, quick development of cities and westernisation of the island make many Taiwanese feel lost and adrift, cut off from the roots. These motifs are frequent in Hou's later films, like "Goodbye South, Goodbye" (Nanguo zaijan, Nanguo, 1996) and "Millennium Mambo" (Qian xi man po, 2000).
"Millennium Mambo" is a perfect example of a new film language used by Hou to describe the present. Long, static shots are replaced by dynamically changing shots, faster editing and a riot of fluorescent colours. The film portrays young and beautiful Vicky who dreams of the past. She recalls her memories from the times when she dropped out of school to live in a toxic relationship with her possessive boyfriend, Hao-hao. Her story brings a vivid picture of posh Taipei's clubs and petty gangsters. Instead of the historical distance the film focuses on the frenetic now and here.
"Flowers of Shanghai" (Hai shang hua, 1998), set in mainland China under the rule of Quing dynasty at the end of the 19th century, seems to be a mirror reflection of "Millennium Mambo". Hou captures a decadent world of flower houses, where courtesans entertain guests with conversation, serving tea and preparing opium pipes. While shooting the film, the director once again had to transform the limitations into artistic values: it was supposed to be realised in mainland China but it the last moment the permission was withdrawn by censors who stated that the screenplay did not meet the regulations as it described the "old world", the times before the Cultural Revolution. Hou and his team returned to Taiwan and – not being able to find a location resembling Shanghai at the end of the 19th century – the whole film was shot in the studio. It strongly influenced the atmosphere of the film and "Flowers of Shanghai" perfectly captures a hypnotic atmosphere of the flower houses, filled in with the smoke of opium pipes and oil lamps. It is also the most formal film made by Hou: it consists of only of 39 static shots which masterfully build a lethargic atmosphere of the meetings between courtesans and their customers. The film was enthusiastically received also outside Taiwan, including France where was distributed in the cinemas.
"Three Times" (Zui hao de shi guang, 2005) is an artistic summary of Hou's achievements. This anthology film involves three love stories set up in the three distant decades. The main characters are played by the same actor (Chang Chen) and actress (Shu Qi) who create a subtle picture about Taiwan's history and its citizens' life. The first story, "Time for Love" is set in 1966 and has a lot in common with Hou's New Wave films capturing the reality of the South of Taiwan in the 1960s. The second one, "Time for Freedom", shares the style and plot with "Flowers of Shanghai" and its action is set in a flower house, in 1911. The third story, "Time for Youth", takes place in contemporary Taipei, likewise "Millennium Mambo". When it comes to the formal aesthetic, the film presents changes in Hou's style over the span of 25 years. The plot includes the recurring themes of the director's works: the impact of the history of Taiwan on the individual and the search for personal happiness, which tends to be only elusive.
Another mover and shaker of the Taiwanese New Wave is Edward Yang. His early film "The Terrorisers" (Kong bu fen zi, 1986) was produced by Hou Hsiao-hsien who also acted in Yang's previous film, "Taipei Story", as well as co-wrote the screenplay. This emphasise an interesting aspect of the Taiwanese New Wave as a movement which unified a group of friends who – as filmmakers – often realised projects together in the same studio, exchanging their experiences and discussing the form of the new Taiwanese cinema during their private meetings.
The end of the Taiwanese New Wave in the late 1980s did not bring to the end the development of the cinematography in Formosa. The beginning of 1990s was marked by the new generation of the artists, frequently called the second Taiwanese New Wave.
The most popular representative of the generation is Ang Lee. The Taiwanese director made a prominent international career with two films honoured with two Academy Awards: for the Best Foreign Film for "Crouching Tiger, Hidden Dragon" (Wo hu cang long, 2000) and the Best Director for "Brokeback Mountain" (2005), along with two Golden Bears two for "Sense and Sensibility" (Sense and Sensibility, 1995) and "The Wedding Banquet" (Xi yan, 1993) as well as two Golden Lions for "Brokeback Mountain" and "Lust, Caution" (Se, jie, 2007).
Five Flavours included in the programme "Eat Drink Man Woman" (Yin shi nan here, 1994), one of the titles from the "father-knows-best" trilogy (completed by "Pushing Hands" and "The Wedding Banquet"). The films bring a portrait of the father, a mainland Chinese, who represents the old values and traditional Chinese culture. Father's beliefs are a source of conflicts and gene gap in these films, stand for a clash between youth and experience, tradition and modernity. In his trilogy, Ang Lee offers unconventional solutions for family antagonisms as the old tradition coexists with the new order. Despite the definition of the family changes, the harmony is maintained and parents and children live in their own way.
Another representative of the second generation of the Taiwanese New Wave directors is a Malaysian-born artist, Tsai Ming-liang. He came to Taiwan to study at the Chinese Culture University. At the turn of the 1980s and 1990s, Tsai began began to shot films for the Taiwanese television. His second feature "Vive L'Amour" (Ai Quing wan sui, 1994) was awarded the Golden Lion and FIPRESCI Prize at the Venice Film Festival.
The character in his films is director's alter ego – a young man, always played by the same actor, Lee Kang-Sheng. Tsai's cinema is immersed in the atmosphere of Taipei, which is not only a particular city bus also a generalised representation beyond the local reality. Although he focuses on young people living in Taipei, their stories might happen in any other city in Asia, Europe or America. Their problems, emotions and situations the characters find themselves in, seem to be the same in part of the world. It becomes obvious in the recent Tsai's films, set in Kuala Lumpur (I Don't Want to Sleep Alone, 2006) and in Paris (Visage, 2009).
The young Taiwanese are portrayed also by the new generation of directors. Sisters Doris and Josie run a café in "Taipei Exchanges" (Di 36 ge gu shi, 2010) by Hsiao Ya-chuan. Their little cafeteria soon becomes a global phenomenon, an extraordinary place to exchange goods, services, skills, stories. The film echoes the urban stories created by Edward Yang and Hou Hsiao-hsien. And it is no coincidence that it was Hou who produced "Taipei Exchanges". Another new interesting title is "7 Days in Heaven" (Fu hou qi ri, 2010) by Liu Zi-jie i Wang Yu-lin. The film captures the conflict of tradition and modernity, bringing the picture of a young women who gets back from the city to her home village to organise the funeral of her father. A seven-day ceremony reveals the absurdity of the implicit following the rituals but also proves to be a therapeutic session which brings together sister, brother and their cousin. "No puedo vivir sin ti" (Bu Neng mei you ni, 2009) by Leon Dai is based on a true story of a father who lives in an abandoned port hovel with his only daughter, Mei. When the girl reaches school age, the father wants to register her at a local school. As he was not officially married to Mei's mother, Li is not recognised as her legal guardian. This begins the painful process of Li being ground down by the merciless bureaucracy.
The films made by another generation of Taiwanese directors bring a whole range of contemporary behaviours: a distance to the desire to enrich yourself, searching for rays of hope, a difficult struggle with he bureaucratic system. While portraying the ordinary Taiwanese and their dealing with the reality they are immersed in, the new directors continue the film tradition started with the Taiwanese New Wave.
Agnieszka Kamrowska
KINO monthly 10/2011
Hou Hsiao-hsien says hi to Five Flavours:
