EVERY
PICTURE TELLS
A STORY
Part 2 of 4
(When Will the "Yellow Ceiling" be Raised) Film Review: Snow Flower and the Secret Fan
The problem was that
there were three films in one. There’s the teenagers
growing up in the ’90s in addition to the modern and
period piece. We shot so much material I found that I had
three films going on and that’s why I ended up simplifying
a lot of stuff. It was one the most problematic films for
me in the editing room. At one point a cut a version that
was just a period piece — I actually threw out the
modern story. In another version there is very little of
the modern story and it was mostly period. There are many
different versions! (Wayne Wang)
THE
FILM'S "MODERN" PARALLEL STORY
required greater deft story-telling rooted in prodigious
research and erudition that provides the context and analysis
for audiences to understand why there are two stories
– the first consisting of a time where Chinese women
sacrificed any notion of independence or personal dreams
how the other story of women confronted with too many
choices to make a decision on in too short of a time expanded
and/or provided more insights. Noting Mr. Wang’s
expertise in his words “I would feel like I’m
just like a craftsmen recreating a period situation in
a period set” - apparently the secondary story (written
by Ron Bass and Michael K. Ray to Angela Workman's traditional
approach) was included to translate a sense of history
into today’s realities to provide a greater understanding
of the deep emotions and commitments of laotongs while
seeking to broaden the film’s appeal. As Mr. Wong
stated "I didn't want people to go away from the
movie thinking Chinese culture is all about foot binding
and macho males," he said — but also because
the city "is so relentlessly contemporary now. It's
almost like New York mixed with Las Vegas."
MANY
MIGHT ASK
would today's young Shanghai women understand and/or be
part of a laotong relationship that involves two girls
from different villages with eight matched characteristics
(i.e. foot size, economic situation, birthday, etc. to
confirm that they were the “same”) and that
lasted their entire lives while a sworn sisterhood is
made up of several girls and dissolves at marriage as
noted in films such as the Sandra Bullock/Ashley Judd-starrer
"Divine Secrets of the Ya-Ya Sisterhood." Would
any lasting female relationship in Shanghai during the
21st century be built on the foundation of Lily and Snow
Flower’s relationship that consisted of both being
born in the Year of the Horse, the same day, the same
hour, same number of brothers and sisters, identical height/equal
beauty, feet bound on the same day and being the third
child. In addition, since in the added modern story -
“Nina” is a Chinese from South Korea, the
creative decision to ignore the complicated histories
between China and Korea was was fascinating. Audiences
were left wondering about the implied/alluded/suggested
push and pull between platonic and erotic relationships
between the two female characters in both stories. It
is interesting to note that Lisa See shared that the parts
that were true to the novel were good, but that the modern
elements had no relation to the book at all.
LISA
SEE
She
was
born in Paris but grew up in Los Angeles. She lived
with her mother, but spent a lot of time with her
father’s family in Chinatown. Her first book,
On Gold Mountain: The One Hundred Year Odyssey of
My Chinese-American Family, was a national bestseller
and a New York Times Notable Book. The book traces
the journey of Lisa’s great-grandfather, Fong
See, who overcame obstacles at every step to become
the 100-year-old godfather of Los Angeles’
Chinatown and the patriarch of a sprawling family.
Her
first novel, Flower Net, which was a national bestseller,
a New York Times Notable Book, and on the Los Angeles
Times Best Books List for 1997. Flower Net was also
nominated for an Edgar award for best first novel.
This was followed by two more mystery-thrillers,
The Interior and Dragon Bones, which once again
featured the characters of Liu Hulan and David Stark.
This series inspired critics to compare Ms. See
to Upton Sinclair, Dashiell Hammett, and Sir Arthur
Conan Doyle.
After becoming a New York Times Bestselling author
with her beloved Snow Flower and the Secret Fan
in 2005, See has gone on to complete three more
novels. In 2007, Peony In Love was heralded by People
magazine as a “thought-provoking meditation
on what it means to be human” and gave See
her second New York Times Bestseller. After Peony
in Love, she decided to center her next novel on
two Shanghai sisters, Pearl and May, and their journey
of a lifetime out of China, through the southern
villages of China, and across the Pacific Ocean
to Los Angeles. Shanghai Girls became her third
New York Times Best Seller, and it’s follow
up and sequel, Dreams of Joy, recently became See’s
first New York Times #1 Bestseller. \
See
was the Publishers Weekly West Coast Correspondent
for thirteen years. As a freelance journalist, her
articles have appeared in Vogue, Self, and More,
as well as in numerous book reviews around the country.
She wrote the libretto for Los Angeles Opera based
On Gold Mountain, which premiered in June 2000 at
the Japan American Theatre, followed by the Irvine
Barclay Theatre. She also served as guest curator
for an exhibit on the Chinese-American experience
for the Autry Museum of Western Heritage, which
then traveled to the Smithsonian Institution in
Washington, D.C. in 2001. Ms. See then helped develop
and curate the Family Discovery Gallery at the Autry
Museum, an interactive space for children and their
families that focuses on Lisa’s bi-racial,
bi-cultural family as seen through the eyes of her
father as a seven-year-old boy living in 1930s Los
Angeles.
See
serves as a Los Angeles City Commissioner on the
El Pueblo de Los Angeles Monument Authority. She
was honored as National Woman of the Year by the
Organization of Chinese American Women in 2001 and
was the recipient of the Chinese American Museum’s
History Makers Award in Fall 2003.
WHAT
WAS MR. WANG'S UNDERSTANDING
of the differences between a sworn sisterhood where all
seven-year-old girls of a village were having their feet
bound, their mothers helped them form a sworn sisterhood
that dissolved when the girls were married at the age
of seventeen versus a laotong relationship that consisted
of having eight matched characteristics that would last
their entire lives – an “emotional marriage”
when| emotions didn't enter into marriages between men
and women (as per Lisa See’s words). Can today’s
Shanghai young women (who are envied throughout China
because of their public image of having exciting and fulfilling
lives – aka “Shanghai Princesses”) who
enjoy the benefits of a university education that would
be completely out of reach to their own parents, making
salaries that ten years ago would be considered a fortune
while willing/able to spend up to three months salary
on one designer bag (along with purchasing other high-end
shoes, cell phones, etc.) be able to relate to Snow Flower?
They do have issues of finding a “good man”
(translation: somebody with house – in today’s
astronomical high prices for houses in downtown Shanghai/car/money/good
job) where the saying ‘No House No Car’, ‘no
money – no honey’ is the common phrase. Do
these girls, who have been transformed into ‘Zhai
Nu/Zhai Nan‘ (stay-at-home girls who are preoccupied
in their bedrooms to watching Korean soap operas on Youku.com
on their laptops while they wait for Mr. Right with little
need for domestic skills such as cooking) relate to the
plight of Snow Flower? Can Shanghai’s so-called
“leftover women” — the sheng nu identify
with Snow Flower? Would today’s Shanghai women accept
Lily’s aunt description of a laotong match - “A
laoton relationship is made by choice for the purpose
of emotional companionship and eternal fidelity. A marriage
is not made by choice and has only one purpose –
to have sons.”
WAYNE
WANG STATED “Ultimately
what appealed to me was the possibility of incorporating
into this ancient story a modern female friendship set
against today's China . . . I proposed this new structure
by combining a modern day story also with the period story,
and [the producers] liked it, and we started working on
it.” Their new direction seems to be the creative
team’s interpretation of Lisa See’s words
that her book is “about friendship and what it means
to be a woman . . . our lives are completely different
from those lived by the Nüshu writers, but inside
we are the same. We want people to hear our thoughts,
appreciate our creativity, and feel empathy for our emotions.
. . we still long for love, friendship, happiness, tranquility,
and to be heard.” Was Mr. Wong’s added “modern”
storyline intended to add a greater understanding, provide
a supposedly picture of today’s Shanghai women (though
different than what was described above) or be an allegorical
commentary noted in his words “often think life
would be much richer if we valued our friendships the
way that laotong did.” Given Mr. Wang’s words
““Things such as feet-binding, things such
as this really contractual, very emotional marriage between
women called laotong, and things such as the Nüshu
which is a women’s language they wrote to each other
that they only understood. All these things are [topics]
I wanted to talk about. And no one has really done this
kind of story” – why was there a need to add
another story if he wanted to stay true to the intentions
of Lisa See’s book?
Did
you know that
Wayne Wang's mother
had bound feet?
ONE
WONDERS WHY wasn't the option of exploring
the connection between the writer and the story (ala Rob
Reiner “Stand By Me”) considered or used since
the character of “Lily” had a strong connection
to the author Lisa See while personifying her mother’s
view that suffering is the only authentic emotion since
it cannot be faked, ignored or glossed over. As the author
stated – “In many ways Lily's voice and her
view of life were easy. She reminded me of my grandmother,
great-aunt, and other female relatives—Chinese or
not—at the end of their lives. To a person, they
had felt tremendous regret that they hadn't been better
wives, mothers, or friends, but they each also had at
least one episode in their lives that gnawed at them and
they hoped fruitlessly to somehow make amends.”
FOOT BINDING
For
ten centuries, Chinese women underwent an extraordinary
procedure designed to permanently transform the
human body: the practice of foot binding. It began
in the 10th Century and continued well into the
20th, when the practice was finally outlawed –
and it impacted the lives of millions of Chinese
girls and women.
Historical
records indicate that the roots of foot binding
go back to the Song Dynasty, when the Chinese ruler
Li Yu fell madly in love with a dancer who bound
her feet into the slender shape of a new moon and
danced on a lotus platform, which the arts-loving
emperor found intoxicatingly beautiful. Soon it
became the standard of beauty, with tiny, compacted
feet considered the height of elegance, refinement
and erotic allure. With women in the royal court
binding their feet, and those of their daughters,
the trend spread outwards into the populace. Foot
binding became a female status symbol, a source
of power and esteem, in a world where almost everything
else was denied to women.
By
the 19th Century, bound feet were found on nearly
every wealthy woman in China, and had become one
of the few ways young women from lower classes could
hope for upward mobility and marriage to a wealthier
man. The lengthy, agonizing binding process was
started in childhood, between the ages of 3 and
7, when soft, malleable toes and arches were broken,
then compressed daily with tight straps and bandages
that folded the toes underneath the sole, squeezing
and constricting the entire foot until it formed
the desired 3-inch shape. Despite the pain, girls
undergoing foot binding had to walk on their broken
feet daily to become used to the balance, which
led to an unusual, swaying walking style, known
as “The Lotus Gait.”
The
procedure, which was either performed by professional
foot-binders, by mothers or another female member
of the family, was excruciating for children. It
sometimes resulted in deadly infections or feet
that were almost non-functional, too painful to
walk on for long periods of time, which further
limited a woman’s freedom. Yet, at the same
time, bound feet could also be a path to greater
opportunity – holding out the promise of a
better life for their children.
Although controversy surrounded the practice for
centuries, foot binding was not formally banned
until 1912. Even then, women continued to bind their
feet in more remote areas for several more decades
until missionaries, early Chinese feminists and
the Communists who came to power in the 1940s began
anti foot binding campaigns. Ironically, the anti
foot binding movements of the mid 20th Century turned
women with bound feet into pariahs who were now
set apart by the very limbs that had once been the
height of beauty. In the 1990s, the last shops selling
the traditional 3-inch “lotus shoes”
for women with bound feet closed.
WITNESSING
MANY LOST OPPORTUNITIES of sharing Lisa
See’s great story, one can only imagine the magical
pictures/scenes/stories thatcould have been presented
of the character “Lily” making amends for
past regrets (along with the other emotional themes of
judgment, betrayal and atonement within their own “private
and forbidden worlds” integrated throughout the
novel) – a powerful emotion that can be identified
by all. Imagine the creative challenges, opportunities
and ambition to utilized the two lead female actresses’
reliance on unspoken communications (since China’s
Li Bingbing and South Korea’s Gianna Jun didn’t
speak English – having learned the dialogue phonetically
– and neither speaking the other’s language)
– an element seen in many great Hollywood and international
films. Imagine if Wayne Wang had embraced Lisa See utilizing
Lily to narrate the story from her perspective as an old
woman in her “sitting quietly” days –
ala James Cameron’s “Titanic.” Since
Li Bingbing shared that she treated her character in both
stories as separate, having audiences learn about the
essence of the main characters’ relationship though
a simple gesture, a soft touch, a gentle hug and/or a
compassionate look of longing could have served as the
common denominator and thread that served as the foundation
for both stories for both the viewer and actrresses. Imagine
what a great ambition it would have been to communicate
how women throughout history have in common the same needs,
as shared by Lisa See – “We want someone to
hear us and to understand us and to feel sympathy and
empathy for the things that we go through. Many of us
look an entire lifetime to find a friend, a husband, a
boyfriend, whatever the relationship is, like that. And
many of us never find it."