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 stumbled on a DVD copy of the film from the local library, but before that I never heard of this film. Stanley Kwan also directed Rouge, a film I enjoyed and liked very much, and that prompted my decision to make the time investment to watch it.

Center Stage, aka Yuen Ling-Yuk (Cantonese pronunciation of the main character) or Ruan Ling-Yu (the mandarin equivalent) is a slow film, a period piece focused on the life and premature death of an actress in the 30's in China. As a kid growing up in Asia several decades ago I never watched B/W silent films, so Yuen was never known to me, until now.

It was a slow film, but well acted and researched. I enjoyed the depiction of Shanghai in the 30's and the personification of various people in the entertainment circle. This film is obviously not for everyone. For the selected few with the interest or the cultural background, it is a film worth watching. If nothing else, it is a cultural lesson on the filming business and a snapshot of the Chinese society in 1930. Seeing some big name actors in it, doing what they do best, is a bonus.

An homage to Chinese silent film star Ruan Lingyu (1910-1935) starring Maggie Cheung is certainly compelling as a premise, and there are several things I liked about it, including the re-creation of old movie scenes played alongside the original, and the cast and crew talking about what had happened in her life. It also gave me a jumping off point into understanding this actor and her work better, and hey, Maggie Cheung is always a joy.

For 154 minutes, though, it's pretty surprising just how many details are left out about Ruan's personal and professional life. Director Stanley Kwan's storytelling tends to put the viewer into a scene like a dance floor and spend a lot of time there, without enough explanation for the things going on with Ruan, her lovers, or the directors she works with. It's frustratingly distant. Even after her elongated suicide scene, he opts to show his crew filming Cheung pretending to be dead, instead of referencing the extraordinary funeral procession Ruan had. In the end it made me think that just a straight biographical film that walked through the events of her life would have worked better, as it probably would have been more informative.

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 story of a young beautiful acclaimed actress from the 30s could have been so much more. Unfortunately it is a bit of an overlong mess which mixes a somewhat boring documentary approach with 90s interviews and vintage reels, with a rather gripping and stylish account of love, society bias and deceit. Had to fight not to fall asleep during the dull moments