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When a leprous winery owner in 1930s China dies a few days after his arranged marriage, his young widow is forced to run the winery to make a living while contending with bandits, her drunkard lover, and the invading Japanese army.
"Farewell, My Concubine" is a movie with two parallel, intertwined stories. It is the story of two performers in the Beijing Opera, stage brothers, and the woman who comes between them. At the same time, it attempts to do no less than squeeze the entire political history of China in the twentieth century into a three-hour time-frame.Written by
Michael Kim <firstname.lastname@example.org>
Leslie Cheung was The first Hong Kong actor who acted in a mainland China film. See more »
When Douzi is first examined by the owner of the opera troupe, his extra finger is on his right hand below the thumb. When he withdraws the hand from the opera troupe owner, he pulls back his left arm. When his mother cuts the extra finger off a few moments later, it is now on his left hand, next to his pinkie. See more »
The following footage was deleted from the USA version:
After Laizi's death, Douzi and Shitou mourn next to the coffin. We see the coffin being carted away. (1:24)
We see Douzi being carried atop the servant's back to Old Man Zhang's quarters (0:09)
During the "deflowering scene" with Old Man Zhang, after the woman leaves, until Zhang says "Come here." Douzi urinates into a vase, as the old man looks on, getting quite excited. (0:21)
After Cheng and Duan are accosted by rioting students, after the photo session. They are being carted through the streets on handcarts. Na Kun is following, on foot. They discuss first the student revolutionaries, and then the incident at Old Man Zhang's house, which is now a coffin shop. Dieyi mentions that he was there the day before; Na conjectures that he was probably looking for the sword. (0:51)
After Cheng and Duan meet Yuan Shiqing for the first time, and Cheng is presented with jewelry. Brief dialogue as Yuan and then Duan leave the room. (0:19)
After Cheng and Duan argue in the makeup room, right before Juxian leaves the House of Blossoms. Juxian watches a performance of "Farewell". (0:55)
After Cheng and Duan argue during the "engagement" scene, right before Cheng tucks the baby Xiao Si into bed. Yuan presents Cheng with an elaborate pheasant headdress in his dressing room. (0:51)
After Japan's march into Beijing, right before Duan gets into a fight with the Japanese. Another opera scene, dealing with drink. Also one line of dialogue as Juxian applies Duan's makeup. (1:31)
Scene of Cheng singing to Japanese continues, right before Duan is released. Interior shots, Cheng holding a fan. Music, and applause. (0:47)
More graphic detail in the bloodletting scene.
Brief shot of Duan caressing Juxian's cheek, right after Cheng and Yuan makeup scene.
After our first glance of Cheng smoking opium, right before Cheng and Duan visit their old teacher. Cheng steps out of his home, smoking and looking quite listless. He chokes as a car passes. Then we see Juxian showing a group of Duan's friends to the exit of their home, recovering money that her husband has lent them. Juxian complains that Duan doesn't have a real job; Duan responds that all he can do is sing, and Juxian has forbidden that. Juxian mentions that Duan and Cheng's old teacher wants to see them; Duan says that he is too ashamed to face him. (2:02)
After Juxian visits Cheng in his cell, just before trial. Beginning of the trial dialogue cut, where Peking Opera is described as "pornographic music", and the formal charges of collusion with the Japanese Officer, Aoki, are described. (0:43)
Later, in the same trial scene, after Na's "testimony", Yuan objects to the idea of Peking Opera as "pornographic music". (1:01)
After the communists march into Beijing, Cheng and Duan are performing "Farewell" to an audience of communist troops. The troops do not respond, and then break into a patriotic song afterwards. Xiao Si seems to take to their philosophy. This scene cuts into what seems to be one large crowd scene in the U.S. release -- everything depicting Xiao Si (the foundling) skipping through the streets of Beijing comes after this scene. (1:52)
After Juxian's suicide, and before we cut to the present day, we get a short scene where the traitorous Xiao Si seems to get his due. He is sitting alone with the case of jewelry given Cheng by Yuan, and singing from "Farewell". Behind him, communist troops begin to file in, and Xiao Si is startled to see them in the mirror. One of them approaches and hands him what seems to be some sort of summons. (1:11)
The film paints the story of two actors, from their first encounter at school in the Twenties through their success as stars of the Peking Opera, difficulties during the Japanese occupation, the Communist takeover in 1949 and the traumas of the Cultural Revolution in the Sixties
For the so-called Fifth Generation of Chinese filmmakers, the film touches new ground on two fronts In the first place, though it does not avoid from acknowledging the sufferings under the old regime, it takes an embittered view of Communist society and of the Cultural Revolution specifically
The two friends, Xiaolou and Dieyi, adopt a young man, Xiao Si, who becomes one of the Red Guards and quickly informs the political sins of his benefactors
Second the film is a love story of a rare kind Dieyi is a homosexual and suffers rejection when Xiaolou begins an affair with Juxian (Gong Li), a gorgeous prostitute The personal conflict of each character is the heart of this exceptional movie
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