The Ghostly Splendor of Rouge

BROOKLYN, N.Y.—I initially had a whole long blog post planned for Halloween regarding the taste for cheesy horror flicks, most of them made during the 1980s, that I cultivated in my younger years of cinephilia—years in which I went to a local video store and went straight to the horror section to gawk at some of the wonderfully freaky and creepy VHS box art on display, such as this...

...and this...

...and this:

Alas, I found myself surprisingly busy with assignments both within and outside of work as last week progressed, and my weekend was so packed with activity (and so wonderful, in ways I will explain in probably more than one post later) that I just never found the time to work on that post as much as I had wanted.

And now it's Halloween.

So perhaps next year at this time, I will delve deeply into the beginnings of my cinephilia through the horror genre (of which the above posters give a taste). This year, though...allow me to grace you all with a particularly haunting and evocative image from one of the best cinematic ghost stories I've ever seen:

This image comes from the unsettling climax of Stanley Kwan's wonderful 1988 film Rouge, in which the divine Anita Mui (of whom faithful blog readers will know I have quite the fondness for) plays Fleur, a prostitute who, in the 1930s, makes a suicide pact with a wealthy and rebellious son, Chen (Leslie Cheung), and follows through with it...and then returns as a ghost roaming modernized Hong Kong looking for the man who promised to kill himself for their love.

In the first half of the film, Kwan gets a lot of mileage out of the ways he contrasts past and present Hong Kong, with Fleur seen reacting in a bewildered fashion to how much the region has changed since the '30s; she is seen, at one point, marveling with confusion at how her old bordello has turned into apartment housing. In addition, he puts a great deal of emphasis on the modern-day couple (Alex Man and Emily Chu), both of whom work at a newspaper, that eventually helps Fleur track down her beloved; he contrasts the more mundane ways they express their love for each other with the intense (naive?) romanticism underpinning the passion between Fleur and Chen in the 1930s. These literal and visual contrasts suggest a surprisingly thoughtful and resonant secondary theme in Rouge: the ways modernization has affected not only physical locations, but traditions and behaviors over generations.

Rouge, though, is, first and foremost, a deeply romantic ghost story, mixing in elements of historical drama and detective procedural in its surprisingly ambitious brew. And then [possible spoiler ahead] we get to the resolution of this supernatural procedural and discover what really happened—or, rather, what didn't happen—to Chen...or, more precisely, what he didn't allow to happen. And Fleur's bloody but unbowed reaction to her realization—and Chen's own realization of the great love he has spurned—leads to an ending that, I think, can rank proudly alongside another great Asian ghost story, Kenji Mizoguchi's Ugetsu (1953), in its genuinely haunting evocation of deep personal loss intertwined with an alternately uplifting yet tragic sense of people moving on from said loss, whatever the cost to others.

And really, who else in '80s Hong Kong popular culture, at least, could portray "bloody but unbowed" better than Anita Mui? At the time, perhaps, one would not have thought that Mui had it in her to play an essentially submissive character, at least on the basis of the flamboyantly sensual persona she cultivated as a pop-music superstar. Yet here she is in Rouge, exuding all sorts of delicately shaded yearning while nevertheless maintaining an inner strength that ultimately gives her the power to disappear into the night, in the image above, heartbroken but with her dignity fully intact.

Rouge may not be "scary" in the sense that it jolts you out of your seat and shocks you with over-the-top sequences of gore...but, in its visual splendor (courtesy of Bill Wong's beautifully evocative and graceful cinematography) and thematic and emotional depths, it carries a far greater, longer-lasting power than any number of gory 1980s slice-and-dice flicks that caught my eye back in my formative years.

Happy Halloween!

P.S. Rouge is available from Yesasia.com on a region-free DVD from Fortune Star.

P.P.S. As usual with most Hong Kong productions in the 1980s, Rouge features a pop song that itself became a hit. This one, sung by Mui herself, is particularly lovely (it plays at the end of the film):

Going Gaga for Anita Mui

EAST BRUNSWICK, N.J.—I didn't watch much of Sunday night's Grammy Awards telecast; sure, I've heard of a lot of the nominated artists, and I've even heard some of the nominated songs, but my interest in today's American pop music is passing at best. (These days, I'm plowing through a complete set of period-instrument Mozart performances—which, I think, gives you a bit of an idea where my musical interests lie.)

But I heard from some of my friends on Twitter that the opening performance, a typically no-holds-barred Lady Gaga medley that eventually segued into a duet with Elton John, was one of the highlights of the night. I was a big Elton John fan back in the day, and still enjoy hearing his stuff; as for Lady Gaga—well, I initially simply heard hit tunes like "Just Dance," "Poker Face" and "Paparazzi" as standard overproduced electronic pop fluff until I read this essay at The House Next Door about her music videos and realized that people were indeed taking her whole package seriously as some kind of Warholian work of art. An astoundingly successful popular artist somehow using her fame and fortune to stage a mass meta-commentary on said fame and fortune? Call me shallow, but that sounded rather interesting to me...and day by day, I find my curiosity about her rising.

Well, I finally checked out that Lady Gaga/Elton John duet (the video of which is above), and it may have provided the final push to finally wade deeper into her music. Why? Because, simply put, the performance gave me honest-to-God chills...the kind of goosebumps that greeted my initial exposure to this artist:

 

That, my friends, is Anita Mui (1963-2003), the late, great Hong Kong pop star from the 1980s and '90s who was quite the obsession for me a year or two ago. Cinephiles, of course, will recognize Mui from such films as Stanley Kwan's Rouge (1987), Tsui Hark's A Better Tomorrow III (1989), a handful of Jackie Chan flicks (Miracles, The Legend of the Drunken Master, Rumble in the Bronx), Johnnie To's The Heroic Trio (1993), and others. But she was also the Cantopop sensation of the '80s, earning comparisons with Madonna for her flamboyant style and ever-changing public image—much the same way Lady Gaga is garnering serious criticism with her music and public persona now.

For all the flaunting of her sexuality and her extravagant stage manner, though, Anita Mui was, first and foremost, a wondrous singer, with a deep alto tone that could startle you and an emotional range that could knock you down flat. I remember the first video I ever saw of her, a live performance of a 1989 hit of hers entitled "夕陽之歌" (roughly translating to "Sunset Song"):

Under Mui's glorious voice, what could have come off as a bland love ballad felt instead like a searing emotional five-minute drama. As someone who barely knows Cantonese as it is, I didn't understand the words she was singing—but, on an intuitive level, I could grasp the deep, wistful emotions roiling underneath.

Here's Anita Mui tackling a more uptempo number (skip to 3:25 to hear the tune):



The song, by the way, is named "壞女孩," or "Bad Girl" in English. Looking at the way she moves onstage during that performance—yeah, bad indeed.

Why did Anita Mui cross my mind when watching Lady Gaga at the Grammys? Only one reason, really: Ah Mui could sing stunningly well live, even while doing all sorts of elaborate choreography and costume changes...and so, it seems, can Lady Gaga. I mean, I knew she had a fine voice based on hearing many of her hits, but that singing voice was often deliberately technologically manipulated for effect. Shorn of any technological safety nets, however? If anything, she sounded even better singing "Poker Face" live (it certainly didn't sound lip-synced to me). And—I didn't know this before seeing the Grammy video above—she can play the piano! And she did so with Elton John!

Anyone that can pull all of that off in six minutes of near-blissful stage pop spectacle automatically garners a certain level of respect from me. (Listen to Taylor Swift's off-key live Grammy performances by comparison—though, sure, being a mediocre live performer doesn't automatically make her an inferior artist or anything.) This new pop icon Lady Gaga, it seems, is also simply an immensely talented musician. Even if her current self-aware stage persona grows old—and inevitably it will—she at least has the technical chops to be able to do what Anita Mui (and, oh yeah, Madonna) did throughout her Hong Kong pop stardom in the '80s: become something of a chameleon, trying on different public images and stage personas, keeping her act fresh. Being a spectacular singer, like Anita Mui was, is certainly a good leg to stand.

Just for fun, here's a photo of a wax statue of Ah Mui that resides at Hong Kong's Madame Tussaud's Wax Museum, which I took during my Hong Kong venture last year:

***

And, oh yeah...weren't Oscar nominations announced yesterday? Yes, they were...and again, I find myself at a loss to say anything of interest about them, feeling neither particularly enthusiastic about deserved nods nor outraged about perceived snubs. AMPAS's taste, at least based on their awards choices over 82 years, has almost always been generally safe and middlebrow, and I don't expect that to change anytime soon. No use getting all emotional over it; just enjoy the drinks that will inevitably flow come Oscar night!

Of course, that is not to say this will be my last word on the subject. Last year, during a brief stint with the general-interest Web site suite101.com, I came up with a list of alternate Best Picture Oscar nominees for that year. Maybe I'll do so again this year. Maybe not. We'll see.

Actually, since I'm here, I might as well offer one personal observation: Remember those days in the early stages of awards season when Carey Mulligan was the front-runner in the Best Actress category for her "star-making" (according to many critics) performance in An Education? Funny how things change in a matter of weeks...and no, I still haven't seen Sandra Bullock in The Blind Side. Didn't seem all that appealing to me when it came out. Guess I'll finally have to, now that it also scored a nomination in this year's pointlessly overstuffed Best Picture category. I may not take the Oscar seriously as an indicator of any sort of artistic quality...but I do like to keep up with the conversation. I suppose that's the journalist in me talking.