November 6, 2014
The Adulteress –
Hong Kong, 1962
In the opening scene of Han Xiang Li and Meng Hua Ho’s 1962
musical The Adulteress, we are told
by way of a choir of singers that in the mid-1870’s a murder case caused a
sensation in a small area known as Can Qian. As portrayed in the film, the case
involved a rising scholar named Nai-wu Yang and Bai-cai Xiao, the wife of a struggling
tofu vendor. In truth, the case is less about adultery than it is about lust
and corruption, but adultery has always been the more sensational charge, while
corruption is often viewed as being too commonplace to be truly shocking. As
the film begins, Xi-Tung Liu (Bao Shu-Gao), the son of the local magistrate, is
venting his frustration to the local apothecary. His complaint: that Xiao (Li
Hua Li) won’t give him the time of day. The solution: a potion that, according
to the apothecary, will make even the most virtuous of women completely lose
her inhibitions. It is an awkward beginning, especially for a movie that wants
to be taken seriously as a drama, yet it adequately establishes the
characteristics of both the film’s female protagonist and its chief villain.
The situation is complicated further by the never-ending
taunts of the area’s residents, who never cease to remind Xiao’s husband, Xiao-da
Ge (Mu Chu), that his wife loved another man before him. Naturally, that man is
Nai-wu Yang (Shan Kwan), and despite the fact the Yang is married, has a child,
and seems like quite a respectable person, Mr. Ge becomes obsessed with the
idea that his wife and Yang are having an affair. Such feelings enable Liu to
operate with virtual impunity, for his actions can be quickly attributed to
Yang. This of course sets the scene for jealousy, rage, murder, and eventually
injustice on a shockingly massive scale.
There is much to praise The
Adulteress for, from its excellent use of vivid colors and light to its
creative use of musical numbers. These are used not only to move the story
forward but in one clever bit to allow viewers to hear a character’s thought process
during a pivotal moment in the film. The film’s directors also make good use of
short shots that convey ironic messages to the audience. In one such moment, they
focus their camera on a sign in the courtroom that read “Just and Fair.” Few
words have been further from the truth.
After an intriguing first half, during which diabolical
schemes are set in motion as those who are entrusted with protecting the
innocent devise ways to shield the guilty, the film essentially becomes a
courtroom drama. In this part of the film, we see the original case against
Yang and Xiao, as well as their subsequent attempts at winning an appeal. While
this part of the film is a bit repetitive, it is also quite emotional. To me, what
was surprising most of all was just how dramatic and violent this part of the
film is. For some time, it appears as if every judge the protagonists come
before believes not only that torture is an acceptable means of extracting a
confession but that confessions received as a result of torture are both admissible
and truthful. Practically every judge utters a variation of the refrain if you didn’t do it, why did you confess
either before or after ordering one of the defendants to be inflicted with
physical punishment. Such scenes would be shocking in most films; in a musical,
they are practically unheard of.
The acting is particularly strong throughout the film. Li
creates a character that is on the one hand extremely moral yet on the other
hand quite fearful, and the scenes in which she is called upon to demonstrate
her character’s conflicted emotions are quite powerful. Kwan has an equally
challenging part, for he must convincingly play Yang at two stages. In the
first, he is strong, defiant, and upright; later, he is a man whose spirit and
body has been broken. He plays both sides equally well. It helps that he is
able to play against actors so skilled at coming across as uncaring and
corrupt, actors such as Chih-Ching Yang (Shi-Tong Liu), Yunzhong Li (Counsel Wang),
and Kuang Chao Chiang (Qian Bao-sheng)
As with many films of this sort, viewers are at the mercy of
the final product, and as with many releases of Chinese films from this period,
the final product has problems. The most glaring of these has to do with the
subtitles. While more accurate than those found on other DVDs, the subtitles
unfortunately have frequent misspellings throughout the film, and this is
inexcusable in this day and age. Even a cursory review of the subtitles prior
to the release of the disc should have been enough for someone to spot that the
letter I was frequently not capitalized
or that the letter I was often erroneously
used at the beginning of words. Really, who in their right mind would look at iamb and think that was a word? In addition,
there are occasional reminders of the perils of relying on thesauruses during
the translation process. An example: one character complains of something “leaving
me so perturbed.” This translation would only seem justified if the character
who spoke the line had an enormously rich vocabulary. He doesn’t. And there is
simply no reason whatsoever for every sound made by the film’s chorus to be
translated. For example, whenever someone is brought before the judges, the
chorus sings the same line, which was transcribed as “Wei wu.” It’s anyone’s
guess what this is supposed to mean.
Still, as I am fond of saying in situations such as this
one, an imperfect DVD of a otherwise fine movie is better than no DVD at all,
and The Adulteress remains a well
structured, thought-provoking film. It weaves an intricate tale involving the
powerful and the powerless and shows what can happen when corruption is allowed
to pervade the government and the legal system. In addition, it demonstrates the
consequences of evil allowed to go unchecked and the ability of unbridled
obsession to bring about misery. Unfortunately, these are messages that are
still very relevant in today’s society. (on DVD in Region 3)
3 and a half stars
*The Adulteress is
in Mandarin Chinese with English subtitles.
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