The MoFos Top 100 of the 90s Countdown - Redux

Zhang Yimou's Raise the Red Lantern is set in the 1920's in the Republic of China during the Warlord Era. Set several years before the Chinese Civil War, it shows that, in spite of how China seemingly moved beyond its troubling past, it was still held back by patriarchalism, as is seen through a wealthy lord and several women (concubines and servants) who live in his household. Through the complex character dynamics and the setting, Yimou explores the power imbalances amongst gender and class that were engraved into this lifestyle back then.

There's a lot to say about the various characters in the film. Yuru, the first wife, is the oldest of the bunch. She seems cold and distant when Songlian visits her in the opening, she mainly stays out of the conflict between the other mistresses, and (if I'm remembering correctly) the Master doesn't spend any nights with her throughout the film. It's apparent she has accepted she's growing old, is far past her prime, and that the Master prefers the other mistresses over her. Compared to the other three mistresses, she doesn't do or say that much in the film, but I felt like her limited screen time was earned, so I didn't have an issue with it. Zhuoyun, the second concubine, is the nicest of the bunch. She's the only one who acts friendly around Songlian and, as a result, they quickly bond. After she betrays Songlian though (however, I use the word betray very loosely as the detail which sets off the conflict between them could've meant something else), they fall out of touch with each other in one of the most shocking and upsetting scenes in the film. Her character bridges the gap between the somewhat light first half and the comparably darker second half. Meishan, the third concubine, is spoiled and unable to cope with how she's no longer the Master's favorite mistress. It initially seems like she's out to sabotage Songlian's relationship with the Master, but as the film goes on, her ruthlessness is trumped by Songlian, the fourth mistress. Though you may sympathize with Songlian at first, you eventually hate her as the effects her conspiring behavior has on the other people in the household keeps increasing in severity. Other notable characters include Yan'er, Songlian's servant, who's forced to put up with her harsh treatment throughout the film.

Master Chen, however, is the most significant character in the film as he provides the backbone for the film's patriarchal themes. As the one who runs the household, he leaves a bit of power open for his mistresses to vie for it. The mistresses, in turn, compete for the Master's full attention, because having obtained it will result in power, status, and privilege. As we soon learn though, whatever successes the mistresses find throughout the film are ultimately insignificant and short-lived as, whenever things begin to look up for them, the film is quick to remind you of the superiority the Master (and even the other occupants of the household, to a degree) has over them. For instance, whenever the Master spend a night with a mistress, she gets a foot massage, but at one point in the film, the Master says "A woman’s feet are very important. When they feel comfortable, she’s healthier and better able to serve her man", showing that he's still above them in rank. Other examples include how the Master confiscates Songlian's flute and burns it without letting her know, how Yuru, the Master's first wife, is largely ignored by him since she's aging, and how the household has several rules the mistresses must follow, for which breaking them will result in punishment. My favorite extension of the patriarchal themes though is how you never get a clear view of the Master's face (save for at least one shot in the film, where you get a good look at about half his face). This is a great distancing approach which illustrates that, since the competition amongst the mistresses never slows down, the Master is always just out of their reach.

There's also a lot that can be said about the cinematography and the setting. When I was first introduced to the Master's household, I found the houses which the four concubines lived in to be well-designed and pretty to look at. That they could walk on the rooftops was the cherry on top. The more I watched the film though, it soon dawned on me that none of the mistresses ever walked outside of the Master's property. Instead, they appeared to spend their entire time within his walls. Since the rooftops in the Master's household show occasional glimpses of other houses and structures stretching far off into the distance, you're provided with enough of the outside world to show what the concubines are missing out on. Given that, it feels like the concubines are stuck in a prison-like environment. A beautifully designed and roomy prison, but a prison nonetheless. The lone room on the roof where prior women were hung and the various punishments the mistresses could receive for breaking the rules are great touches which cause the mistresses to seem even more ensnared in the household.

Overall, this is a brilliant film, albeit one I watched with a couple small interruptions. While watching it, the film buffered at a couple points in the middle due to my internet acting up, thus breaking the flow a bit. This hopefully won't happen again when I rewatch this film later this year though as I can see myself bumping it up to a 10/10 with a second or a third viewing.