There's a distinct, stark simplicity to much of the film (including the sets and direction) that is at once both enchanting and beautiful, and also in its way somewhat threatens suspension of disbelief. Observing the very, very light touch with which the more dramatic story ideas tend to be visualized (not least the slightest possible intimation of a rendezvous leading to an evening of sex work), there's no disputing the role that censorial standards had in shaping the picture, though even at that the delicate hand is admirable and refreshing for the obvious intelligence it requires. Such qualities reflect the duality of the silent era of any country's film industry - the idiosyncrasies which may make such titles difficult to engage with for some viewers, but which are also those same facets that endear them to anyone receptive to the style. For anyone who appreciates older films, it becomes abundantly clear in no time at all why 'Goddess' is held in such high esteem,' and as a viewer it's a real pleasure.
Whatever else one may think of the choices and limitations here of storytelling and film-making, I don't think there's much questioning that this is wonderfully sharp and well made, holding up very well decades later. The production design, art direction, and costume design are earnest and fetching, as is Wu Yonggang's direction - in what was, apparently, his debut in that capacity. He demonstrates a keen eye for orchestrating shots and scenes, and to that point, Hong Weilie's cinematography is rather terrific; there are some techniques employed here that still seem relatively novel or advanced for the 1930s. I repeat that while a far cry from what modern viewers are accustomed to, the feature's discriminating approach toward the subject matter is really rather inventive and gratifying; why show all, when with an injection of cleverness something as discreet as the movements of two pairs of feet on the street can speak volumes? And all this is to say nothing of the cast; I think everyone involved gives fine performances generally, including Li Junpan as the sympathetic principal, though of course star Ruan Lingyu stands out the most; she illustrates such tremendous, invigorating nuance in her skill set that it's honestly just a joy to watch this for her alone.
One might well say that the tale is familiar in the broad strokes, yet there's a sincerity, finesse, and clean grace and mindfulness to 'Goddess' that goes a long way to help it stand apart from any similar saga. Even if we were to say that scenes and intertitles are reduced to their most basic ideas, the bounds within which Wu operated (whether voluntarily or by enforcement) inspire creativity, brilliance, and inarguable refinement from which the film draws its considerable strength. From the fundamental notions of the writing (the mother's occupation, the conflicts and the lengths she goes to for the sake of her son), to the themes of the picture (naturally including a mother's love, and prejudice at large, but emphatically extending to persecution of sex workers, and fighting for justice and dignity), there's a vibrancy to the title that echoes the near-perfect preservation of surviving prints - which is to say, this continues to stand tall ninety years later, with unmistakable universality in the specific.
Yes, there are perhaps ways in which this may seem curious, particularly for those who are less in tune with what such older movies have to offer. Far and away, however, 'Goddess' is rich and striking, even taking its disadvantages and finding a way to twist them in its favor. In terms of the writing, direction, acting, and all the contributions of those behind the scenes, this is roundly superb, such that even when the drama is at its most dire and heartbreaking the picture is a pleasure to watch. It's maybe worth mentioning as well that in light of the arc of the titular character, the feature remains sadly relevant even now for how the impoverished generally, and sex workers specifically, are so poorly perceived and treated in society. This only further accentuates, however, the lasting value of a Chinese film from 1934: I had fairly high expectations from the outset, and still I'm taken aback by just how very excellent this is. Some movies pass their expiration date even ten years after their release, yet this remains an exceptional, rewarding viewing experience ninety years on. Ultimately any peculiarities one may discern are at worst trifles, taking nothing away from the title and if anything only adding to it. All involved should be celebrated, for 'Goddess' is a marvelous film that in another ninety years will still deserve recognition and remembrance. My highest recommendation!
Whatever else one may think of the choices and limitations here of storytelling and film-making, I don't think there's much questioning that this is wonderfully sharp and well made, holding up very well decades later. The production design, art direction, and costume design are earnest and fetching, as is Wu Yonggang's direction - in what was, apparently, his debut in that capacity. He demonstrates a keen eye for orchestrating shots and scenes, and to that point, Hong Weilie's cinematography is rather terrific; there are some techniques employed here that still seem relatively novel or advanced for the 1930s. I repeat that while a far cry from what modern viewers are accustomed to, the feature's discriminating approach toward the subject matter is really rather inventive and gratifying; why show all, when with an injection of cleverness something as discreet as the movements of two pairs of feet on the street can speak volumes? And all this is to say nothing of the cast; I think everyone involved gives fine performances generally, including Li Junpan as the sympathetic principal, though of course star Ruan Lingyu stands out the most; she illustrates such tremendous, invigorating nuance in her skill set that it's honestly just a joy to watch this for her alone.
One might well say that the tale is familiar in the broad strokes, yet there's a sincerity, finesse, and clean grace and mindfulness to 'Goddess' that goes a long way to help it stand apart from any similar saga. Even if we were to say that scenes and intertitles are reduced to their most basic ideas, the bounds within which Wu operated (whether voluntarily or by enforcement) inspire creativity, brilliance, and inarguable refinement from which the film draws its considerable strength. From the fundamental notions of the writing (the mother's occupation, the conflicts and the lengths she goes to for the sake of her son), to the themes of the picture (naturally including a mother's love, and prejudice at large, but emphatically extending to persecution of sex workers, and fighting for justice and dignity), there's a vibrancy to the title that echoes the near-perfect preservation of surviving prints - which is to say, this continues to stand tall ninety years later, with unmistakable universality in the specific.
Yes, there are perhaps ways in which this may seem curious, particularly for those who are less in tune with what such older movies have to offer. Far and away, however, 'Goddess' is rich and striking, even taking its disadvantages and finding a way to twist them in its favor. In terms of the writing, direction, acting, and all the contributions of those behind the scenes, this is roundly superb, such that even when the drama is at its most dire and heartbreaking the picture is a pleasure to watch. It's maybe worth mentioning as well that in light of the arc of the titular character, the feature remains sadly relevant even now for how the impoverished generally, and sex workers specifically, are so poorly perceived and treated in society. This only further accentuates, however, the lasting value of a Chinese film from 1934: I had fairly high expectations from the outset, and still I'm taken aback by just how very excellent this is. Some movies pass their expiration date even ten years after their release, yet this remains an exceptional, rewarding viewing experience ninety years on. Ultimately any peculiarities one may discern are at worst trifles, taking nothing away from the title and if anything only adding to it. All involved should be celebrated, for 'Goddess' is a marvelous film that in another ninety years will still deserve recognition and remembrance. My highest recommendation!