Revolutionary Romance

The focus of Chinese movies in the early years of the People’s Republic was on heroes of the revolution. They are consequently referred to as red films, their protagonists mainly workers, soldiers and working women.

This transition to red revolutionary films brought about sweeping changes to cinematic arts. Story lines shifted from wealthy families to the working classes. Roles hence demanded uniform, utilitarian style dress, rather than delicately made cheongsams and fur coats, and the natural look replaced that of alabaster skin and ruby lips.

Sun Daolin (1921-2007) and Shangguan Yunzhu (1920-1968) were among the most well known performers of this period.

In pre-revolutionary China, Sun Daolin had acted comedic roles and those of old-fashioned intellectuals. After the founding of new China in 1949, he starred in more than 10 films. He is best remembered as the PLA officer in Scouting Across the Yangtze River, the intelligence agent in The Eternal Wave and the patriotic Go player in The Go Masters, a China-Japan co-production. His successful portrayal of these characters acted as a template for later actors.

Shangguan Yunzhu entered films in 1941, and first appeared on the screen in the roles of a woman of wealth, of a socialite and of the wife of a traitor to the country.

In 1955, Shangguan’s role as guerrilla leader in The Story of South Island, about resisting Japanese occupation on the Hainan Island, changed her film image. She also performed in Stage Sisters, Early Spring in February and Withered Trees Revive, whose themes are clashes of old and new mores in a society amid transition, and the newfound freedom and dignity of the underclass after the founding of the PRC. Shangguan enraptured film audiences with her striking portrayals.

By 1962, posters of well-known Chinese movie stars adorned theaters and workers’ clubs in cities throughout China, in spaces formerly occupied by images of Soviet Union movie stars. That year marked the appearance of the first Chinese film stars of new China. They included Zhao Dan, Sun Daolin, Bai Yang, Xie Fang, Shangguan Yunzhu, Wang Xingang, Zhu Xijuan, Wang Xiaotang and many others. They all epitomized the current ideals of art and human beauty.

Among red-themed movies, Struggles in an Ancient City starred Wang Xingang as a soldier with an unyielding spirit. His performance won local audiences, and became an archetype for later actors. The movie also starred Wang Xiaotang, who soon became the Chinese cinemagoers’ sweetheart.

Zhu Xijuan played the role of a maid working for a ruthless landlord in The Red Detachment of Women, which also featured Wang Xingang. The character in the film grew up to be a member of the red detachment of women that helped eradicate corrupt landlords and repel bandits. At age 24, Zhu Xijuan was a household name.

In any epoch, only certain mainstream movie stars win stardom, but actresses clearly imbued with intellectual attributes also win fans. During the so-called red film period, other than those taking military roles, actresses like Xie Fang, who had a cool intellectual style, were also popular. Xie performed in Song of Youth and Stage Sisters.

In the 1960s and 1970s, the natural look was common among actors and actresses. Actresses had big eyes and natural unplucked eyebrows, and men had ruddy complexions and manly strength. There were no ultra-feminine roles.

Revolution and work were the themes of movies of this time, in which actors Li Xiuming and Yu Yang frequently featured. Their roles demanded displays of courage and bravery, but of few other emotions.