RED ROSE, WHITE ROSE

Hong Kong, 1994, 110 minutes, Colour.
Winston Chao, Joan Chen, Veronika Yip.
Directed by Stanley Kwan.

Red Rose, White Rose is a Hong Kong, Taiwan, Chinese co production of 1994, directed by Stanley Kwan, director of the well-received Rouge and Centre Stage.

It is set in Shanghai in the past, an attempt to look back at China and Chinese customs, the interrelationship with the West, the role of a man in Chinese society, especially in his relationship with women, a mistress and a wife. The film is ironic in its tone - the central hero wanting to be a saint with a good reputation, but in fact the opposite and quite exploitive and brutal with his women.

The film is very stylish, an attention to minute detail in its beautiful photography of flowers, furniture, items in a room... The film also uses a caption style, reminiscent of the silent films, giving information, pushing forward the plot, making comment and ironic comment on the progress of the hero. Star of the film is Winston Chao, who made his debut in the very successful The Wedding Breakfast. The leading lady, the Red Rose, the mistress, is played by Joan Chen (The Last Emperor, Heaven and Earth).

A stylish, slow-paced film, quite in contrast with the action films emanating from Hong Kong and Taiwan.

1. The work of Stanley Kwan, Taiwan and Hong Kong, China background? Chinese memories, the legacy of the early part of the 20th century, the film project as indicating the new unity of the Chinas?

2. The blend of the stylised and the realistic? The colour photography, the tones and shades, the attention to detail, the slow-roaming camera, the moods? The stylised sets and the evocation of the movie tradition and studio work? Editing and pace? The structure of the film moving the audience on, delaying their attention? The demand on the audience emotionally?

3. The use of captions, the echo of silent films, the editing, the information about the characters, the captions manipulating the audience, drawing their attention to issues? The irony? The voice-over about Zhen- Bao?

4. The Shanghai settings, the contrast with Edinburgh and Paris? China and the pre-Mao period? The musical score, orchestrated, operatic, lush? Its moods?

5. The portrait of a Chinese man, the comments on men, in themselves, self-image, reputation, virtue? In their relationship with women, their supremacy, wanting to be decent, indecent behaviour? Brutality? Promiscuity and chastity? The desire for new beginnings - but the reality of not being a saint?

6. The opening with Paris, Zhen- Bao and the prostitute? Edinburgh and the promiscuous girl? The effects of these experiences on his attitudes towards women?

7. Zhen- Bao in himself, situated in his family, going to Scotland, the factory work, his education and training? Coming back to Shanghai, going to board (with his brother)? A nice young man, his meeting Jiao- Rui? Her laughter, vivacity, her husband? Her affairs and deception - and changing to Zhen- Bao?

8. The passionate affair, her laughter, passion, sexuality, freedom, no sense of betrayal? Zhen- Bao caught up in the affair? The film's style and collage in showing the affair? Her writing her letter to her husband, Zhen Bao's reaction, cutting off the affair, her crying out to him in the street? His self-possession, self-centredness?

9. Jiao- Rui and her husband, her moodiness, first seen washing her hair, going out with Zhen- Biao, buying dresses, the movies? The encounter with the woman on the train and her insinuations? Controlled yet vulnerable? The red rose?

10. The change in Zhen- Bao, becoming more prim, courting Yen Li? Seeing her at the factory? The boat ride, the proposal, her chaste response, her being the white rose? The elaborate marriage ceremony - with its western style? The over-fulsome speeches about the perfect marriage? The bride's behaviour at the wedding? The passing of the years, the prim live, his work, going to prostitutes for sex, his wife's pregnancy, her fear of the birth, going to the hospital, her antagonism towards her child? Her distance towards her husband? The daughter and the daughter's name? His mother living with them? The inevitable clash? His sister and her extravagances? His wife making excuses for him?

11. The sketch of his mother, her dominance in the household, moodiness and emotional blackmail? His sister and her extravagance, her job? His brother, support, the proposal, the marriage? The domestic scenes, meals?

12. Zhen- Bao's private behaviour, drinking, business deals, prostitutes, the neglect of his wife, autocratic at home, cutting across her behaviour, humiliating her? His outward reputation?

13. Yen Li and her reserve, primness, inability to communicate to her husband, making excuses? The infatuation with the tailor? The clash with her mother-in-law, sister-in-law? Her withdrawal to the bathroom, eating, the emotional collapse? Her reaction to the birth of the baby? Supporting her child, the piano? Her passive aggressive behaviour?

14. The chance meeting on the train, Zhen- Bao and Jiao- Rui? His approach, her change, happiness, husband - becoming the white rose?

15. The irony of the ending of the film with his determination to make a new start - possible or impossible?