Farewell My Concubine And The Cultural Revolution

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Chen Kaige's 1993 film Farewell My Concubine opens with what the director portrays as the denouement of revolutionary Chinese history, the days following the end of the Cultural Revolution. To Chinese viewers and those who are knowledgeable about China's 20th century, the Cultural Revolution is a known quantity, a vital element to any story that spans the great mass of time that Kaige documents in his film. To those who are neophytes in this history the film's focus pulls back from this final scene into a retrospective of the main characters' shared pasts. In this way Kaige gives us an ending point and reverts immediately to the starting place – granting us a glimpse of how the characters and China itself had ended up the way it did. But throughout the movie the Cultural Revolution remains a climax, a point in the narrative that all the other narrative arcs bend inexorably toward. Such a view is not entirely correct in terms of our understanding of China in the 20th Century, but it is a signal of the power that those ten bad years exert over the spiritual life of the Chinese people even today. The other periods that Kaige recreates in his film are prelude, in a manner of speaking, to the finality of the Cultural Revolution, but they are lovingly crafted recreations and each phase that he depicts can be commented upon and understood as part of a larger story, one of turmoil, chaos and confusion. No matter that Kaige understands the Cultural Revolution as a climax, he still must find a beginning for his story and he uses 1924 as his point of origin for the romance between his two male leads. Whether Kaige commences the story from this year for verisimilitude in his characters' ages, or if he wants to draw attention to the events of China in 1924 is not clear. As it is, he depicts Beijing as a vital, energetic place, but glimpsed through the dreary lens of

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