SUN YU AND NATIONAL CINEMA

 

 

Sun Yu (1900–1990) is one of the key directors of his generation. His work combines an experimental approach to cinematic styles with a social conscience and a profound humanism. He began making films after returning to Shanghai in 1926 from studies in the United States of America, which included courses in scriptwriting and theatre at Columbia University, as well as cinematography and editing at the New York Institute of Photography. In 1930, Sun commenced a long-term collaboration with left-wing studio Lianhua Film Company, becoming one of its key directors. At around this time, a film group was set up in the Communist Party to promote films with progressive themes — writers, critics and directors rallied to create and support progressive cinema. Dominant social realist styles were also shaped by the May Fourth Movement, which originated in 1919 as a mass anti-imperialist protest promoting anti-feudalism, nationalism and the liberation of the individual; the ensuing cultural movement explored new and progressive styles and subjects. Left-wing films often addressed the pitfalls of modern life, its iniquities and changing gender roles, and also exhibited a growing Chinese patriotism in reaction to Japanese aggression. Sun’s films comment on social disparity in humanist terms with lively characters and situations, avoiding didacticism but containing key left messages. Little Toys 1933 with two great actresses, Ruan Lingyu and Li Lili, Sun’s powerful nationalist statement on economic self-reliance, cuts between images of handmade toys and military hardware. Queen of Sport 1934 draws on the heroic documentary style of Soviet cinema. Sun was denounced by Mao in 1951, and afterwards made only three more films.

 

Production
still from Wild Rose (Ye Meigui) 1932 / Image courtesy:
China Film Archive, Beijing

Wild Rose (Ye Meigui) 1932 All ages
12 noon Wednesday 14 March
/ Cinema A / Live musical accompaniment & electronic subtitling

35MM, 82 MINS, B. & W., SILENT, CHINA, MANDARIN INTERTITLES (FRENCH SUBTITLES) / DIRECTOR/SCRIPT: SUN YU / CINEMATOGRAPHY: YU XINGSAN / CAST: WANG RENMEI, JIN YAN, YE JUANJUAN, ZHENG JUNLI, HAN LANGEN / PRODUCTION COMPANY: LIANHUA FILM COMPANY (UNITED PHOTOPLAY SERVICE) / PRINT SOURCE/RIGHTS: CHINA FILM ARCHIVE

Xiao Feng (Wang Renmei), the ‘Wild Rose’ of the title, is a country girl beloved of the village children, whose games and pranks she directs. A young artist from Shanghai travelling through the area is drawn to her exuberance and stays to paint, and she later moves to Shanghai with him. Wang Renmei gives a lively performance as the fearless country lass abroad in the perilous and indifferent city, creating pandemonium in high society.

 

Production
still from Little Toys (Xiao Wanyi) 1933 / Image courtesy:
China Film Archive, Beijing

Little Toys (Xiao Wanyi) 1933 All ages
2.00pm Saturday 10 March
Cinema A / Live musical accompaniment

35MM, 107 MINS, B. & W., SILENT, CHINA, MANDARIN INTERTITLES (ENGLISH SUBTITLES) / DIRECTOR/SCRIPT: SUN YU / CINEMATOGRAPHY: ZHOU KE / CAST: RUAN LINGYU, YUAN CONGMEI, LI LILI, LUO PENG, HAN LAN-GEN / PRODUCTION COMPANY: LIANHUA FILM COMPANY (UNITED PHOTOPLAY SERVICE) / PRINT SOURCE/RIGHTS: CHINA FILM ARCHIVE

Set in the late 1920s and early 1930s, Sun Yu’s Little Toys reflects on the fate of China through the character of the film’s tragic heroine. The artisan Ye (Ruan Lingyu) supports her two children by making toys that her husband sells in the city. Her world is shattered by the death of her husband and the disappearance of her son amid fights between rival warlords. Ye migrates with her daughter Zhu’er (Li Lili) to Shanghai but finds she can barely compete with imported toys. Zhu’er is killed during Japanese attacks on the city. Alone, Ye mechanically continues to sell her toys. She gives one to a child; who is her son but, if she recognises him, she decides he is better in his new wealthy adoptive family. The trauma of what she has lived through finally pushes Ye over the edge. In the climatic sequence, she frantically implores pedestrians in Nanjing Road (and the film audience) to fight against Japanese aggression. Ruan Lingyu is superb as the ageing Ye marked by life, and is complemented by the vibrant Li Lili, five years her junior. The blending of romantic idealism with harsh realism and social criticism is characteristic of Sun Yu’s oeuvre. One of the first Chinese filmmakers to be trained in the USA, he introduced new montage techniques to the Chinese screen, as seen here in the juxtaposition of toy weapons and real war machines.

 

Production
still from Daybreak (Tianming) 1933 / Image courtesy:
China Film Archive, Beijing

Daybreak (Tianming) 1933 Ages 12+
2.00pm Saturday 17 March
/ Cinema A / Live musical accompaniment & electronic subtitling

35MM, 96 MINS, B. & W., SILENT, CHINA, MANDARIN INTERTITLES / DIRECTOR/SCRIPT: SUN YU / CINEMATOGRAPHY: ZHOU KE / CAST: LI LILI, GAO ZHANFEI, YE JUANJUAN, YUAN CONGMEI / PRODUCTION COMPANY: LIANHUA FILM COMPANY (UNITED PHOTOPLAY SERVICE) / PRINT SOURCE/RIGHTS: CHINA FILM ARCHIVE

Ling Ling (Li Lili) leaves her fishing village, destroyed in the civil war, to find work in a factory in Shanghai. The vice pit of the city swallows her; after being raped by her employer’s son, she becomes a prostitute. Flashbacks to her idyllic rural past, and fades and superimpositions show the contrast between rich and poor in the city. When Ling Ling comes into some money and tastes the high life, she does what she can to help those around her. As the revolution approaches, she looks forward to better times.

Production
still from Queen of Sports (Tiyu Huanghou) 1934 / Image
courtesy: China Film Archive, Beijing

Queen of Sport (Tiyu Huanghou) 1934 All ages
2.00pm Wednesday 21 March
/ Cinema A / Live musical accompaniment & electronic subtitling

35MM, 85 MINS, B. & W., SILENT, CHINA, MANDARIN INTERTITLES / DIRECTOR/SCRIPT: SUN YU / CINEMATOGRAPHY: QIU YIWEI / CAST: LI LILI, ZHANG YI, YIN XU, BAI LU, HE FEIGUANG, WANG MOQIU / PRODUCTION COMPANY: LIANHUA FILM COMPANY (UNITED PHOTOPLAY SERVICE) / PRINT SOURCE/RIGHTS: CHINA FILM ARCHIVE

The irrepressible Lin Yin (Li Lili) is an aspiring athlete who travels to Shanghai to study at a women’s sports college. She even limbs the funnel of the ocean liner she is travelling on to enjoy her first views of the city. Through disciplined training she rises to the top at the National Sports Games. Lin Yin begins to dress glamorously and to navigate between the stadium and the dance hall. With cinematography influenced by Soviet contemporaries, the story of sporting success and social temptations is fresh and engaging. Sun Yu wrote the script in the lead-up to the fifth National Games in 1933, creating a strong woman character and exploring new possibilities for women in modern society.

Production
still from Big Road (Dalu) 1935 / Image courtesy: China Film Archive, Beijing

Big Road (Dalu) 1934 All ages
2.00pm Sunday 18 March
/ Cinema A

35MM, 105 MINS, B. & W., SILENT (ORIGINAL ACCOMPANYING SOUNDTRACK), CHINA, MANDARIN INTERTITLES (ENGLISH SUBTITLES) / DIRECTOR/SCRIPT: SUN YU / CINEMATOGRAPHY: QIU YIWEI / MUSIC: NIE ER / CAST: JIN YAN, LI LILI, ZHENG JUNLI, CHEN YANYAN, LUO PENG / PRODUCTION COMPANY: LIANHUA FILM COMPANY (UNITED PHOTOPLAY SERVICE) / PRINT SOURCE/RIGHTS: CHINA FILM ARCHIVE

A highway is being built to allow the armed forces to defend against Japanese invasion. Two women working in the canteen befriend six labourers, whom they will later bravely help to escape from landowners collaborating with the Japanese. The friends work hard and play hard, skinny dipping in the river after a hard day’s work. Nationalist and anti-imperialist, Big Road responds to the Japanese invasion of Manchuria in 1931 and bombardment of Shanghai in 1932. It is also a very warm, human film that shows Sun Yu’s love for his characters, strong women and the natural world. Big Road is Sun Yu’s most celebrated film.