An evil gang attacks the Chi school of Golden Sword Kung Fu. One student sacrifices his life to save his teacher and his school, his dying wish is that his son be taken in as a student. ... See full summary »
Daily life in an impossibly cramped Beijing apartment takes on epic proportions in this, intimate portrait, with unprecedented access, of a working-class Chinese family. Boldly transforming... See full summary »
Historical Drama starting in 1839 in Guangzhou where British merchants dealing with opium are to be executed because the opium is destroying the Empire. After the burning of 20,000 boxes of... See full summary »
Based from true story, primarily a conflict between two youth gangs, 14-year-old young boy's girlfriend conflict with the head of the gang for unclear reason, until finally there was a painfully incident.
In 1997, Little Cheung is a street-wise nine-year-old boy living in a bustling neighbourhood of Hong Kong, just before the reunification with China. His parents are always working at their ... See full summary »
In 1930s, Wu Qionghua was a housemaid of Nan-ba-tian, a cruel warlord of a village in Hainan Island, China. Often abused by her master, Qionghua was finally rescued by Hong Changqing, ... See full summary »
This classic film chronicles the life of Tukaram (17th C.), one of Maharashtra's most popular saint poets, activating the 20th-C. resonances of his turning away from courtly Sanskrit ... See full summary »
China, the thirties. Running away from an arranged marriage, country girl Zhu joins a troupe of opera performers. She's taken under the wings of Yuehong, one of the female singers and the two become close friends. They move to Shanghai and become stars but the relationship between the two stage sisters is shattered when Yuehong chooses the bourgeois life by marrying the rich manager of the theater and Zhu becomes a communist.
Holy cow! The last thing I expected to see in a 1965 Chinese propaganda movie was a lesbian love story. A lesbian love story, not, as is sometimes the case, as an example of Western-style decadence and immorality, but where homosexuality is treated sympathetically, as an integral and vital part of the main characters. Nothing's very explicit off course, for the most part it's all in the looks they throw each other, but the hurt, anger and betrayal Zhu feels when Yuehong tells her she's getting married for financial security should remove all doubt that these two are lovers. The official reading of that scene may be that Zhu feels Yuehong betrays the class struggle, but you don't have to be Sigmund Freud to see this is really a scene about heartbreak and what Yuehong really betrays is her own sexual identity.
After the break-up, Zhu joins the communists. Here, once again, her mentor is a woman and when director Xie frames the two of them standing in a doorway, lit by the warm yellow light inside the house, set against the cold, dark world outside, once again this relationship is given romantic overtones.
As I watched Stage Sisters with ever growing amazement, I couldn't escape the notion that here is a party-approved Communist propaganda movie that, sneakily, subversively, uses its story of communist revolutionaries, with their double lives, their secret friendships and their illicit rendezvous, as a metaphor for homosexuality.
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