This adaptation of Lilian Lee's novel, co-written by the author and directed by Chinese "Fifth Generation" filmmaker Chen Kaige (YELLOW EARTH), favorably compares to the best films of David Lean, and won the 1993 Cannes Palme d'Or. FAREWELL, MY CONCUBINE brings a balance of psychological
intimacy and epic sweep to its story of an insoluble love triangle that plays itself out over 50 tumultuous years of Chinese history.
CONCUBINE revolves around Duan Xiaolou (Zhang Fengyi) and Cheng Dieyi (Leslie Cheung), friends since their childhood schooling in the 1920s at the Peking Opera Academy. The story begins in 1977, as the two are about to reprise their most famous roles--King Chu and his loyal concubine Yu Ji--in
the classic opera Farewell to My Concubine. The story flashes back to their first meeting: tormented because of his effeminacy and inability to memorize lines, Cheng comes under the protection of the more virile Duan. Cheng is trained to play female roles while Duan learns to play heroes, and
their interpretation of Concubine makes them both opera superstars. Their friendship is shattered when Duan marries prostitute Juxian (Gong Li), and the film follows their separate destinies, each filled with betrayal and heartbreak.
Chen Kaige's tragic vision contrasts sharply with the more socially slanted films of Zhang Yimou, the only other "Fifth Generation" filmmaker whose works have had much Western exposure. Chen eloquently equates Cheng's tragic disconnection from reality with China's inability to strike a political
balance between individual freedom and national unity; there are no heroes in this view of Chinese history, only varying degrees of bad luck. Chen and his players bring passion and intelligence to the story, making CONCUBINE the best kind of spectacle--one whose scale is always human, despite its
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