TWO ACTRESSES

China, 1964, 100 minutes, Colour.
Xie Fang.
Directed by Xie Jin.

Made in 1964 in The People's Republic of China. It did not receive international attention because of the cultural revolution and the changes of policy and attitudes in China during the seventies. It emerged in the West in the late seventies to some acclaim. While there in an industry in the Republic of China, most of the Chinese films known to western audiences come from Taiwan or Hong Kong and focus especially on presentation of martial arts,

This in a more sophisticated film, a story of the theatre familiar ingredients: two young girls who work together, clash, go separate ways, are confronted and have to mako decisions. The tone in highly moralising ? not only in morals but also in the Inevitable presentation of the communist revolution and loyalty to it. While the film is very strong in its propaganda, the characterization and the treatment of the plot and interactions still cons through very strongly. There are interesting glimpses into life in China during the fifties and sixties, the working of provincial theatre and their being taken over by communist propaganda. The two actresses perform with great charm and sensitivity. An interesting example of the Chinese industry of the sixties.

1. The qualities of the film which are particularly Chinese? Which reflect the experience of the revolution of 1949 and the establishing of the People's Republic of China? Attitudes of the Chinese, in the early sixtion? The comparison with the cultural revolution and later attitudes and the revision of the state of Mao Tse Tung? The film as entertainment? As propaganda? How well do these two strands blend?

2. The quality of the colour location photography? The presentation of the countryside? Shanghai in the forties and fifties? Provincial theatre? Theatres in the cities? The world of the stage? The musical score?

3. The atmosphere in China in 1950, the revolution? The traditional theatre and its being used by the revolutionaries? The war, the development of the People's Republic, reconciliation of hostilities? The moralising and its tone? The coda as integral to the total presentation?

4. The 1930's and forties? life in the Chinese countryside, poverty and wealth, theatre? The child bride and the law? The escape of Chunhua and her joining the troupe? The touring theatrical group and hard times? How persuasive were these details presented? The bonds within the group? The father and his acceptance of Chunhua? The friendship with Yuchong? Competitiveness? Friendship? The death in the troupe and the humane atmosphere of the group? How well did the film establish its atmosphere and characters?

5. The moving to the city? The theatres in the thirties and forties? Tang and his influence? Yuchong and her changing? Madame Chiang and her past, reputation, influence on the girls? The break between the two girls and the reasons? Yuchong's marriage and her unhappiness? The hostility between the two and the breaking of their friendship?

6. The transition to 1946 and the presentation of Yuchong and Tang's marriage? Her singing again? The play and her oppression? The museum sequence? Chunhua and her attitudes? The take-over and the hostilities? The court sequence? The background of corruption in the city? Tang and justice being done The reconciliation? The build-up to the social revolution?

7. 1950 and the revolution, change? The atmosphere of optimism?

8. The players in the countryside? The touring theatre? The meeting of the two women? The developments in their lives,. character? The reconciliation?

9. The success of the film as drama? Use of sentiment,. comedy? Social awareness? The effectiveness of propaganda through characterizations and story?