Ruan Lingyu

The director should not have mixed the drama part and the documentary part, which just made the film a narrative mess. The movie itself and a separate documentary would have made the film much more mature. Of course, most parts of the film are just based on some speculations, and this could simply be added by some inter-titles or voice-overs.

I'm a novice at Chinese history, especially in the area of periods of film, and, being American, I'm particularly fascinated by it and comparing it to period pieces set in the 1930's US (a la "Cat's Meow" or "Miller's Crossing"). I was particularly taken with Centre Stage's attention to detail in period dress, music, and movie deal-making among the industry. As opposed to American movies focusing of stars/starlets' merciless climb to the top of the industry, Maggie Cheung plays Ruan as a kind, clever, and talented actress whose versatility and assertiveness helps her move beyond pigeonholing by the industry to play a wide range of parts--revolutionary, new woman, peasant-girl.

One part it seems which has been overlooked in the few reviews I've read is how this image of feminism illustrates China's version of liberation. Cheung plays Ruan as both a feminist in charge of her career, as well as a woman who is in control of her scandalous affair with Lawrence Ng's character. The difference between her and him being that men are understood to have concubines and are forgiven for the indecency, while Maggie's career is ruined (though she never apologizes for it in any way). Traditional roles still trump profession in 1930's China, but the sadness of it all being retold shows a strong Ruan overcoming every possible trap--losing a career over an affair, especially--and maintaining her desires for success.

For Cheung's performance, it never wavered. I was a big fan of hers in "Irma Vep" and she was just a strong in this role playing Ruan. Effortless shifts between emotion ("So, you're showing me your true face," her lover says as she blows smoke in his face obstinately, then switches to a kindly-wife smile--is she practicing her role in the movie, or is that really her?), graceful poise courtesy of the era before slouching was cool, private display of emotion, and elegant role-play as mistress and ex-wife with Tony Leung.

I'd have to know more about the history of Ruan to know if this is an accurate portrayal of her life, but the film-making style of inter-cutting Cheung playing her in the 30's while interviews with Ruan's colleagues from that time as they are interviewed by the director of the movie is a fascinating way to present her history. Is it a bio-pic? Is it a historical fiction? Is it a retrospective? It's all and more.

This is a biopic about Yuan (Ruan) Ling-Wu, a movie star of the 30's in China. I've never seen any film she's been in, but I am very intrigued now. Maggie Cheung is excellent in this role. I feel Ms. Cheung is one of the best actresses in film, from any country. She is always interesting to watch. She plays Yuan sympathetically, passionately and solemnly. Looking at her in this role, looking at her pretty eyes, you can tell she understood this actress. At times, she looks flat out beautiful, especially when she smiles. I liked the style of this film, that the real Maggie Cheung comments on Yuan Ling-Wu during the film. Also commenting is the now departed contemporary of Ling-Wu, the very good actress Lilly Li (a few of her films have been recently released on DVD, and should be sought out). The film has a tragic air to it, as Ruan Ling-Wu committed suicide at the tender age of 25. Even if, like me, you have never heard of the actress, see this film. Ms. Cheung, with her smile, her sorrow, her anger all portrayed brilliantly through the film (she won Best Actress in Asia, richly deserved, just blows you away. Oh, and did I mention, she even dances in this film. A triumph, richly deserving of your time.

The experience of watching this film in 2006 has been similar to watching Marilyn Monroe in "Don't Bother to Knock" after having seen her later, greater performances. Maggie Cheung's (Garbo-like) capability to release interior emotion that will later haunt viewers in "In the Mood for Love" is beginning to take root in "Yuen Ling-yuk." Later on, Wong Kar Wai was able to use editing to sculpt her performance into consistent, unrelenting intensity. Here she is just beginning to explore the boundaries of her talent. This fits in with director Stanley Kwan's need to create a work in progress, like the productions we watch as they are filmed. He both exploits and denounces the artificial milieu as the actors slip in and out of their roles and the film steps in and out of period. The trial-and-error method of Yuen Ling-yuk is matched by Kwan's letting Cheung find her way through the moods of the character, as if she were trying on a different mask for each moment of the life she is embodying. By 2000 the integration of facial and corporal expressions into dramatic expression would be seamless.

It would be interesting to know which directors saw this film when it was shown on the festival circuit. Did Tim Burton know that he had a Chinese counterpart who also let his affection for a forgotten era in cinema guide the pace (disconcerting for many) of his tribute when he made "Ed Wood" a year later? In 1999 when Benoît Jacquot filmed "La Tosca," did he think of this film for his distancing technique that juxtaposed real singers at a recording session filmed in black-and-white with their operatic characters in colorful period costumes? Perhaps even Scorsese took inspiration for "Aviator" from the 1930s shadowy wood-paneling/glossy brilliantine look that comes much more easily to Kwan.

This film can be placed alongside "Sylvia Scarlett" or "The Unbearable Lightness of Being," wherein young actresses were given the freedom to go beyond what they had done before and reach for what they would do, under the guidance of a director whose search to take the viewer into (then) uncharted waters inspired the performers to deepen their potential.

A biopic of Chinese silent film actress from the 30's, Ruan Lingyu, with Maggie Cheung as Ruan. This movie tells the sad story of a young woman who is rescued from poverty by show business, and is subsequently destroyed by it. It's a classic story of the patriarchal double standard in which an adulterous woman is punished by society while an adulterous man is not.

Maggie Cheung's performance is quite good. First of all, she pulls off being an actress playing an actress who is very immersed in her work.

Everyone in this movie is exceedingly composed - they speak carefully, and walk perpetually as if on eggshells. No one really comes alive until a scene at a dance hall near the end. But despite all the sugary politeness, Cheung successfully conveys a woman who is being slowly destroyed by her oppressive environment. And there are a couple scenes in which she completely loses it, and it's very affecting to watch.

The movie is very interestingly interspersed with clips from Ruan's movies, documentary footage of Ruan's surviving contemporaries, and the actors' conversations with the director.

The other actors, such as Tony Leung Ka Fai, Carina Lau, and Waise Lee, who are so interesting in other movies, all have little to nothing to do, except to look nice in period costume.

Also interesting is the fact that Carina Lau (who plays fellow actress Lily Li) looks much more like the real Ruan Lingyu than Maggie Cheung does.

Watching this film is a bit like watching a PBS documentary - edifying, educational, but not exactly fun.