It would be unfair to the director Zhang Yimou to not mention the breathtaking beauty of Raise the Red Lantern. There were scenes which quite literally took my breathe away.The entire film is shot in the home of the master, often photographed from the air. The home is made of stone and no matter the season (the movie takes place over a year), the walls are dark gray. There is no greenery, no foliage, no color. Many of the scenes consist of hallways; doorways. People are looking through doorways, never quite entering the rooms. There is an overwhelming maze like quality that is, at times, stifling. Once we enter the master’s home, we never leave. The audience never sees the outside world. The audience also never sees the master. He is always in shadows, we see pieces of his body but never his face.
Against the dark colors of the film the presence of the red lanterns is magnified. The lanterns themselves are huge, almost majestic. Throughout the film they are the brightest piece of color.
One of the film's most striking visual images is of red against white. When Songlian's maid finds out that she has been faking a pregnancy it is because of the bright red blood she finds on Songlian's white pants. That same image is repeated as Songlian throws the red lanterns from Yan'er's room into the courtyard. Each lantern falls like a drop of blood against the pristine white snow. Songlian's blood will lead to the sniffing out of the lanterns outside and inside of her house. The discovery of Yan'er's lanterns will lead to the sniffing out of her life.
I am probably not doing all of the images justice, it really is a must see film - beautiful images and a heart wrenching story.
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I agree that color is one of the most important aspects of the film, but you picked up on another: space. Even though everyone talks about the color dominating much of Zhang Yimou's work, I found the restrictive nature of the angles in the cinematography to be of equal importance in this film by expressing the oppressive mood of the world these characters inhabit.
Because the master is never truly seen, it would appear that the oppression is brought upon the house's inhabitants themselves. The house's tradition - in the name of tradition - rules the actions of the people who live there, even in the face of an infant modern China trying to emerge into the 20th century. The ghosts of the past penetrate the souls of the "family" caught up in this household, and they willingly allow themselves to be ruled by the red lanterns. Zhang Yimou is spectacular.
Very intersing description. The film has fascinating scenes, and scary ones too. I felt like I was dreaming at times of watching the castle in pictures, and worried about Songhian, then astonished, and shocked when killed the third concubine.
What can I say it is a fascinating story!
Great post Amy--it's interesting that you noted the change in seasons, which is key to this film as to so many Chinese films I've seen. Anyone notice any particular significance in that? Jeff
Amy you bring up some great points, particularly your interpretations of the rich imagery. I saw this film when it was released and have not seen it since. I was unable to secure a copy in time for this course. Your comments have reminded me about some of the events like never seeing the master and the whole film being confined to the house, signifying the confinement of the women. Further, they have no color or life in their lives. They are merely existing—no seasons of life.
“Each lantern falls like a drop of blood against the pristine white snow.” Great observation and description.
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