Directed by Wu Yonggang and Wu Yigong

Shanghai Film Studios Production

Written by Ye Nau

Cinematography: Cao Weiye

Actors: Zhang Yu (Liu Wenying), Li Zhiyu (Qiushi), Zhang Min (Xinghua), Mao Weihui (Xiao Juangzi), Zhong Xinghuo (Policeman Wang), Lin Bin (woman teacher), Ouyang Ruqiu (old woman), Qiang Ming (Li Yan)

Mandarin with English subtitles

This classic example of scar film, co-directed by the great Wu Yonggang (whose most famous work is Ruan Lingyu’s silent ‘The Goddess’, 1934) portrays the conflicts felt by ‘ordinary people’ and intellectuals by the havoc caused by the ultra-left during the Cultural Revolution. Evening Rain is directed by two directors who personally experienced the period as adults and adopts a very different style and perspective from films that have reflected upon this period made by younger directors (such as 5th Generation’s  Zhang Yimou’s ‘To Live’, 1994, and Sixth Generation’s Wang Xiaoshuai’s ‘11 Flowers’, 2013). Wu Yonggang’s influence is strongly felt through the strong use of body language and expression, rather than language, to convey emotion and the film shows the beginnings of the realistic and natural style seen as typifying films of the Fourth Generation, such as Xie Fei (‘Black Snow’, 1990, ‘Woman Sesame Oil Maker’, 1993) and the co-director here, Wu Yigong (‘My Memories of Old Beijing’, 1983). The film focuses on an idealised view of human nature and through strong characterisation seeks to demonstrate the perceived traits of ordinary people that allow them to withstand the inhumane. Whilst melodramatic the film presents an absorbing narrative on social issues, with a cast employing far more unadorned and true-to-life performances than was seen in films of the Mao years.

A significant contribution to the success of this film lies in the cinematographic techniques used. Long-takes, natural lighting and location shooting are all important to the creation of atmosphere in the film. The narrative concerns a poet, Qiushi, who after spending 6 years in prison in Sichuan is being secretly moved to Wuhan by passenger ship. He is accompanied by two secret agents (Liu Wenying and Li Yan) and they occupy a cabin with 5 other people, all of whom have suffered from the radical policies of the Gang of Four. The policeman on board, the captain and a young orphan girl all contribute to the story that takes place almost exclusively on board the ship with flashbacks revealing the poet’s story. The narrative is related from various perspectives as the audience is skilfully drawn into the lives of the passengers. The ending of the film enhances this involvement by resolving (perhaps predictably) the major issues, leaving the audience to complete the others. The scenery along the Yangzi River is beautifully filmed, often appearing as a landscape painting and, in one scene, transforming into a memory Qiushi has of his wife dancing. The river itself is also atmospherically filmed as a site of death as well as life and movement. 

Evening Rain effectively condemns the excesses of the Cultural Revolution with very little visual depiction of them. It is the skill of the directors and actors to produce an effecting account of the extreme conflicts this period caused that makes this a great example of scar cinema.

AWARDS

Golden Rooster Award, Best Film, 1981

Outstanding Film Award, Ministry of Culture, 1980

(Running time 86 minutes)

Our evening will be hosted at CHAI Living Gallery. They kindly provide the venue, equipment, a discount on the menu AND specially prepared popcorn for RAS members to enjoy while watching the movie.

Donation suggested: RMB 20 (RAS members) and RMB 50 (non-members). Those unable to make the donation but wishing to attend may contact us for exemption, prior to the RAS Film Club viewing. 

Membership applications and membership renewals will be available at this event 

RSVP: "Reply" to this email or write to filmclub@royalasiaticsociety.org.cn