“Raise the Red Lantern” Directed by Zhang Yimou

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Table of Contents

Character Analysis of the Four Concubines
Summary of Three Film Reviews
References

Raise the Red Lantern is inspired by Su Tong’s novel, Wives and Concubines. The film, which released in 1991, was directed by Zhang Yimou and starred Gong Li as the main actress mirroring Ni Zhen’s character in the original novel. The movie is set in the early 20^th-century China, during the warlord period, and just before the commencement of the Chinese Civil War. The film explores the story of a teenage lady by the name of Songlian who is forced into a marriage with a wealthy man. The movie is shot close to the traditional city of Pingyao and in the Qiao Family residence, during the winter season.

At the age of 19, Songlian loses her father and her life becomes unbearable due to family bankruptcy. Although she is educated she is married into the Chen family against her will becoming the fourth mistress or the third concubine since the Chinese culture only recognizes one wife. All the women live in separate houses in the same compound but are expected to compete among themselves to get their master’s attention (World Films, 2015). Every night, Chen selects the house where he will sleep, and a lit red lantern is placed in front of the home to signify his presence. In the process of seeking attention, Songlian is caught faking pregnancy, is punished by Chen, and becomes enemies with her co-wives. Songlian becomes traumatized and contemplates suicide even as the movie culminates.

Character Analysis of the Four Concubines

Yuru

Yuru is Chen’s first wife, almost the same age as her husband, and also has a child. Since she is the oldest, she spends most of her time alone in the courtyard and appears to be entirely alienated. She is rarely seen in the movie and does very little to compete for her master’s attention (World Films, 2015). Yuru finds peace in distancing herself from people and the events in the compound and does her best to avoid all the chaos in Chen’s home.

Zhuoyun

Zhuoyun is the second mistress and younger than the first. She also has a child who is age mates with the third wife’s son. At first, she appears to be kind and supportive by offering to comfort Songlian and show her the courtyard. However, her attitude of kindness is only an instrument to attract Chen’s attention, and does not care about Songlian. She is cunning and pretends to show concern about Songlian’s pregnancy and in the long run, secretly reveals the youngest mistress’ fake pregnancy secret.

Meishan

Meishan is the third mistress and has a musical background of being an opera singer. She is the most hostile and arrogant of the four women and also has a son. Throughout the film, she is portrayed as an immoral and spoiled woman, having been caught committing adultery with the doctor. However, her behavior is rather linked to the difficult experiences in the shut courtyard and immorality is one of the ways she uses to exercise her rebellion against the wrongs in the compound. Her life changes immediately she got married to Chen as she stopped enjoying the free life she used to as an opera sing.

Songlian

Songlian is the main character and the protagonist of the movie. Furthermore, she is the youngest concubine and she is confused about the whole idea of being a mistress. She is willing to continue with her college education but she is fed with the idea that being married at such a tender age is her only option (World Films, 2015). Unlike the other women, Songlian is not strong enough to stand up for herself and ends up in frustrations and depression. Her condition worsens after the death of Yan’er, her main, and Meishan.

Color Symbolism

The film director has used the red color of the lanterns throughout to symbolically pass various messages. Traditionally, in Chinese culture, the red lantern represents happiness and good fortune. Additionally, they are used in different ceremonies, marriages included to show the joy in the families, and are hang outside the doorways. Consequently, the red lantern was used during Songlian’s and the third mistress’ weddings (World Films, 2015). The lanterns also represent different moods within the movie such as danger and desire demonstrated whenever Chen entered the house of his choice.

Personal Evaluation of the Film

The movie triggered some emotional response from my end because it was sad to see how all the women struggled for peace in Chen’s courtyard, particularly Songlian. The aim of Raise the Red Lantern is to preach against sexual politics and authoritarianism depicted in the protagonist’s struggles as a young woman incapable of fulfilling her educational desires. The film is narrated chronologically as a story but a dramatic appeal is also integrated to show the characters’ emotions. The film uses the symbolism of a red lantern to show the irony in most marriages where women end up being alienated instead of enjoying happiness as the lantern represents.

Summary of Three Film Reviews

New York Times Review

The review begins by narrating how Songlian became a concubine. She was forced into early marriage and the life of being a mistress by her stepmother. As she arrives at her new home she carries her suitcase and this symbolizes her last experience with independence in the entire film. The relationship between the four wives and Master Chen is defined as ritualistic where the wives have to wait to be selected to spend a night with their husband (Maslin, 1992). A special foot massage was used to signal the lady that had been chosen. The movie is dramatic because the women have different personalities that intersect throughout the story.

Empire Film Review

The review begins by indicating that Raise the Red Lantern was borrowed from the last novel of a trilogy, Wives and Concubines. According to the author, the film was banned by Beijing because it contains insurgent political content. The movie was meant to portray the rot in the Chinese government in the 1990s. For instance, placing emphasis on Songlian’s education suggested the role of students in the Pre-Democracy Movement (Parkinson, 2000). Similarly, the denial by Meishan’s executioners on her death exposes the leadership’s relation to the Tiananmen Square Massacre.

Roger Ebert Film Review

The review focuses on the fourth wives’ experience in Chen’s courtyard. It begins by showing how Songlian was betrayed by her mother by being married to a wealthy man amidst her plans to further her education (Ebert, 1992). Songlian struggles to adapt to her new role as a wife with all the chaos and rituals in the courtyard. The review also mentions the use of the open sky and snow to signify the change in seasons in the film.

References

Ebert, R. (1992). Raise The Red Lantern movie review (1992). Roger Ebert. Web.

Maslin, J. (1992). Review/Film; Dissension in the ranks of a Household’s 4 Wives. New York Times. Web.

Parkinson, D. (2000). Raise the Red Lantern review. Empire. Web.

World Films. (2015). Raise the Red Lantern | Zhang Yimou. Web.

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