After turning out a sizable number of short films and a handful of full-length features, Chinese filmmaking formally entered its full-length feature stage in 1923 with the production of "An Orphan Rescues His Grandfather" (Guer Jiu Zu Ji) 孤儿救祖记). In an earlier post, we discussed how this movie made its leading lady Wang Hanlun an overnight star; this time, we will talk about the film itself.
Despite the success of the Mingxing film studio's first two productions, the aforementioned A Laborer's Love and "The King of Comedy Visits Shanghai" (Huaji Dawang You Hu Ji 滑稽大王游沪记), the latter a three reel comedy relating a fictional visit to China by Charlie Chaplin (never named as such, but obviously the subject), the studio's heads were well aware their struggling young company's survival could not be totally reliant on slapstick comedies. So they followed other Shanghai studios in trying their hand at a full-length, non-comedy feature.
"Orphan," once again a cooperative effort from Zhang Shichuan and Zheng Zhengqiu, was a milestone in the history of early Chinese cinema, for it not only turned around Mingxing's struggling fortunes, it stimulated the enthusiasm of numerous investors who flocked to pour funds into the studio's operations. Moreover, its subject matter so caught the public fancy that for a time in the mid-1920s "social problem films" were all the rage.
An Orphan Saves His Grandfather, and a Studio as Well
Discussions of "Orphan" in Chinese film histories often conclude by declaring it "China's first artistically mature and complete narrative film." As far as artistic maturity and completeness are concerned, it is nearly impossible to have a clear-cut standard from which to render a judgement, and when coupled with the fact the film is lost, evaluation becomes a total impossibility. But there are two things we do know without the benefit of actually seeing the film. One, it did a huge box office: urban Chinese film audiences in the 1920s, already exposed to a steady stream of movies from the more cinematically advanced West, were not likely to flock to an inferior product. Second, later Chinese filmmakers often cited this First Generation product as one of the greatest influences on their own careers. These two factors alone make this lost classic worthy of respect.
Although by the beginning of the 1920s Chinese filmmakers had more than a decade of experience, they were still unclear as to what sort of films would best suit the appetites of Chinese audiences. Everyone in the young industry was struggling with this knotty problem, including the Mingxing studio's Zhang Shichuan and Zheng Zhengqiu. In the first year of its existence, Mingxing turned out a total of four films, but none attained the degree of success the studio had anticipated. Three of these films ("The King of Comedy Visits Shanghai," "A Laborer's Love," and "Strange Happenings in the Theater" were comedy shorts patterned after the many American comedy shorts that were so popular in Shanghai, even exploiting Chaplin's huge popularity to, in effect, "star" him in the Chinese version through the use of an impersonator. The historical data shows that Chinese comic shorts emphasizing physical comedy were not to the taste of Chinese audiences, although similar imports from the West met with their approval. This seemingly contradictory situation continues even today, as the most popular Chinese comedies have been those from such artists as Stephen Chow and Feng Xiaogang, whose films rely on language to draw the laughs, whereas movies from the West emphasizing physical humor, from the 1920s Chaplin right through to today's "Mr. Bean," usually well-received by Chinese audiences, are regarded as a Western specialty, not something for Chinese emulation.
Actually, "An Orphan Rescues His Grandfather" was not Mingxing's first try at making a non-comedy feature. In 1922, hoping to capitalize on the previous year's "Yan Ruisheng," Mingxing attempted a film version of another high-profile Shanghai murder case. A playboy named Zhang Xinsheng, his funding cut off by his wealthy father because of the son's wastrel ways, conspired with his fortune teller to murder the father. As with "Yan Ruisheng," the case was turned into a successful stage play, and the eight-reel film version based on the play was directed by Zhang Shichuan, with Zheng Zhengqiu again writing, and Zhang Weitao as cinematographer. Unfortunately, while the case itself had riveted Shanghai's attention and the stage production was a success, the film version failed, as graphic scenes of the victim's agonizing poisoning death and a post-disinterment autopsy were too shocking for the public, and the film was banned soon after its release.
So the outlook for Mingxing at the beginning of 1923 was somewhat gloomy. With what money they had left, Zhang and Zheng decided to give it at least one more try. They devoted fully eight months to filming "An Orphan Rescues His Grandfather." The film tells the story of a family struggle over an inheritance, and while it probably would be considered hackneyed today, it was uncommon for the time in China. "Orphan" premiered on December 28, 1923 at the Aipuhu Activity Theater in Shanghai, and as an article from that time expressed it, "not two days had passed before every film fan in Shanghai was making plans to see it," and "business was booming, and it was the highest in public esteem."
In any case, "Orphan" adequately fulfilled the role of savior, not only opening new doors for Mingxing, but also providing the impetus for Chinese film to realize its potential. There are varying opinions as to why this particular film was so successful, but its theme of a misunderstanding leading to a family breakup was certainly a factor. Building on the foundation of "Orphan," the Mingxing studio rapidly turned out a succession of similarly-themed movies built around family conflicts, such as "The Death of Yuli," "Bitter Son, Weak Daughter," and "A Blind Orphan Girl." This genre largely dominated Chinese cinema until 1928, when "Burning of Red Lotus Temple" initiated an upsurge of martial arts and swordsman films which became the next dominant theme.
In addition to being a box office success which saved the struggling Mingxing studio, "Orphan" was a career maker for three of its actors. As noted in an earlier post, Wang Hanlun was a recent divorcée estranged from her family and struggling to support herself as a secretary when a chance meeting at a social event led to her being cast in this movie, her first acting role. Chinese audiences' enthusiastic acceptance of her portrayal of the falsely accused young widow led to Wang Hanlun becoming China's first star of the silent era. Recent acting school graduate Wang Xianzhai initially had just a minor role as a servant; but when the actor originally cast as the conspiratorial Lu Shoujing was killed shortly after filming began (ironically in a horseback riding accident, like the widow's young husband in the story), the inexperienced young Wang Xianzhai was pressed into service. His performance so entranced audiences that he went on to a long and successful career, nearly always as a villain, albeit an extremely popular one. A third debut that began a long career was that of Zheng Zhengqiu's own son, Zheng Xiaoqiu, then 13 years old. Cast in the title role of the orphan, Zheng Xiaoqiu went on to a very successful movie career, graduating in time from juvenile to leading man roles. He later became a director, specializing in science documentaries. Wang Xianzhai and Zheng Xiaoqiu will each be the subject of articles here in the future.
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Contemporaneous Events of 1923
January – Reflecting the overwhelming influence Hollywood is exerting over the film industry worldwide, the French Chamber of Deputies passes an amendment reducing taxes for theaters devoting a minimum 25% French content to their programs. Later in the year, with director Ernst Lubitsch in the vanguard, a stream of German film talent begins migrating to Hollywood for greater career opportunities.
November 28 – students at Cambridge University in England
establish the world's first movie fan club.
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Guer Jiu Zu Ji (1923) 孤儿救祖记 (An Orphan Rescues his Grandfather)
Mingxing. B&W. Silent. 10 reels. Premiered December 28, 1923 at the Aipuhu Activity Theater. Direction: Zhang Shichuan. Screenplay: Zheng Zhengqiu. Cinematography: Zhang Weitao. Sets: Dong Tianya. Program notes: Zhou Jianyun.
Cast: Zhang Zhegu (Yang Shouchang), Zhou Wenzhu (his wife, née Huang), Shao Zhuanglin (Dasheng), Wang Hanlun (Xu Weiru), Ren Chaojun (Yupu as a toddler), Zheng Xiaoqiu (Yupu as a child), Gui Gongyuan (Daopei), Wang Xianzhai (Lu Shoujing), Sun Ruyu (Jin Yuanyuan), Yan Xiaoyu (Yang Ziheng), Zhu Lunxi (Cai Weidong), Xing Shaomian (Yu Mutao).
Synopsis:
In middle age, Yang Shouchang has a happy life: he is prosperous, has a devoted wife, and his only son Dasheng has recently married Weiru, a lovely, traditional young woman. But one day tragedy strikes: Dasheng is killed in a fall while horseback riding. His playboy nephew Daopei manages to get the old man to name him executor of the family estate, and further succeeds in getting his friend Lu Shoujing into the household as the old man's secretary and companion. When the deceased son's widow is found to be pregnant, Daopei and Shoujing devise a plot: they manage to convince Yang that the child is not his son's, but the product of his daughter-in-law's adultery. Weiru is driven from the family home, goes to live with her own father, and several months later bears a son, naming him Yupu. Her father dies, and she struggles to raise her son alone.
[right, a young widow and her son face an uncertain future]
Bereft of son and daughter-in-law, the elder Yang sinks ever deeper into despair as he sees his nephew squandering the family fortunes. But he does fulfill one of his dreams, to build a school for poor but deserving children, and upon its completion he moves to a new home nearby. Ten years later, Yupu is a student at the school, and although the two are unaware of their relationship, the child's intelligence and diligence so impress Yang that the old man and the boy become close. One day Daopei comes to his uncle asking for money, but when he is turned down, Daopei decides to murder the older man. However, young Yupu detects the plot and intercedes to save Yang's life. Subsequently, Daopei and Lu Shoujing have a violent falling out, and the nephew is mortally wounded. He confesses all before he dies, and Yang is reunited with his daughter-in-law Weiru and grandson Yupu. He wills to her all his property, and she in turn donates half the property to the grandfather's educational mission.
