Raise The Red Lantern 4b254y

The Plight to Climb the Great Walls

The red lantern has been raised. One girl smirked, the others bowed their heads in defeat. Because for her, she has won the battle while for the others, it’s going to be a cold and dark night once again. The foot massage, the authority for the menu, and the extra-special treatment of the servants are all waiting to be enjoyed by the emerging mistress. For whoever has her lantern raised and lit up shall be pampered with all these luxuries. But now, she also has the target on her back. Her “sisters” will try to outshadow her lighted lantern by hook or by crook. This is their unending saga; their strife to attain power. The question is: Who will sustain the power?

Within the Great Walls of Chen “Locked in a gold cage I pine away,” recites the Master's young son, ‘Let me return to the forest/ To sing my carefree songs.” - this poetry recited by the boy voices cries of each mistresses’ heart. Four mistresses, enslaved by the reenactment of traditions of the Chen family, struggle for survival. The confining walls of their houses and the isolation of their environment signifies their bondage towards the imposed rituals. Their only weapon for this war is to mask their identities with play-act and deception. But no matter how well they perform their roles, they still are too powerless to change their fate, which is symbolized by the lighting and the extinguishing of the lantern. This idea was evidently portrayed by the closing scenes of Songlian, driven mad by the world created by the customs of the family, helplessly walking in a confined space. Songlian Songlian, the newest concubine, is the epitome of ambiguity. She has mastered the art of being unpredictable. Coming to the sanheyuan in her school uniform, one would picture her as a naive girl who doesn’t know anything and one who would easily be swallowed by the house rules. Even the Yan’er did not pay respect to her at first because she looked like a gullible young girl. She then shifted to the authoritative side of her as she ordered the maid to bring her luggages in her lair. She has also shifted personalities towards her competitors and her master. She has been the weak and submissive girl in front of Zhuoyan and the bold and daring woman in front of Meishan and her master. As Songlian assumed her position as fourth mistress, she wore a mask of dignity and authority to create a queenly impression towards the servants and her sisters. What the character thought of herself manifested in her actions – thus, she acted like a queen and thought herself to be one, so that she would get the others to see herself as one. This is evident as she wore a regal mask as she ate with her fellow mistress, demanding a separate meal of her choice than what is served. The most effective way she showed this principle is by defying the long held tradition of eating with the her fellow mistress , so that she would be thought of as someone with a “special disposition” by everyone in the household. As the story grows deeper in its plot, Songlian’s antagonists emerge in the story. As she understood that Yan’er was one of her potential adversaries, she also learned her weakness: She was obsessed with the thought of being the next mistress - to the point of fantasizing herself to be one by decorating her room with red lanterns. Knowing that it is unlawful for a servant to assume the role of a mistress, Songlian

used this weakness to her advantage by blackmailing Yan’er to gain information about who is the mistress who wanted to sabotage her; otherwise, Songlian would expose her scandalous behavior. Though she did not do it deliberately, she made a move that annihilated one of her antagonists - which caused one of them to be incapable of inflicting her. Because Songlian knew that Yan’er was one of the accomplice of the second mistress in exposing her secret, she repaid her by exposing the red lanterns she created in her room. This emotionally affected Yan’er so much that it caused her to be ill to the point of death. The story did not end well for Songian. Bearing the guilt of the death her female servant and the murder of Meishan - which she is responsible for exposing her adultery - was enough to drive her into insanity. Zhuoyan Zhuoyan, the second concubine, as she was described by Meishan, “has a Buddha’s face and a scorpion’s heart ”. Innocence was written all over her face when she humbly welcomed Songlian in her home; acting so friendly that she even complimented her and gave her an expensive silk, yet on the back of her mind she’s already plotting on how she will outshine the new concubine. As the story progresses the motives she conceals started to show, like a serpent who is starting to moult its skin, indirectly creating a perfect storm between the third and the fourth concubine to gain an advancement over them. She knows how and when to let the wolf in her sheep clothing, be out. Having an alliance with Yanér, she found out that Songlian’s pregnancy is a fraud. She’s the one who insisted the master to call Dr. Gao to check Songlian’s health. Knowing that the pregnancy is fake, she already knew that everything is happening according to her plans. Deceitful as she is, she provokes the people around her to execute the things she had on her mind. Meishan Meishan, the third mistress is an opera singer who was spoiled by the master. She felt threatened knowing that Songlian is younger and might took her place as the master’s favorite, so she covers it with aggression. She sings when the master is in the house of Songlian to distract them both or to ruin their intimate moments. She is the perfect scene-stealer. She even faked her sickness during the first night of the master with Songlian. When the master chose to lit the lanterns on her house for the night, she was given the rights to have a foot massage and to decide for tomorrow’s menu. Having the privilege to choose the food to be served, she took advantage of it by asking for a pork dish to aggravate Songlian. As the film continues, it unfolds the secrets of Meishan about having an affair with Dr. Gao. By committing an act of infidelity it clearly shows that she does not follow the customs and tradition. Songlian knows it and when she was drunk she unconsciously uttered it to Zhuoyan. She woke up feeling sober and she witnessed how Meishan was dragged by the servants. The next day, out of curiosity she followed the servants to the room on top. When she opened the door, the whole place was disrupted by her sudden scream. She saw Meishan’s dead body, which was hung inside the room. Meishan is not bad as she seems, she just want to express what she feels. She is a tough competitor in seeking the master’s attention as well as the power that comes along. Yuru Yuru is the first wife of the Master Chen, and almost as old as her master. She bore him a son who is already a young adult. Because she is the eldest of all the four mistresses, she gets the least attention of their master - who often prefers the younger ones. On the other hand, she is the most respected by all the mistresses because she is the least threat of getting the lantern. She is often regarded as the one wisest of them in being knowledgeable in their traditions and policies, and also as a ritual authority. She

has the mildest personality of all the sisters, and is most resigned - she has already accepted her lot in life. Yan’er One of the servants of the master Chen’s household, and also secretly has an affair with their master. She was greatly distressed with the arrival fourth mistress because it trampled on her hope of being the next mistress. Thus, this caused her to despise the Songlian. Being assigned as a servant in the fourth mistress household, Zhuoyun uses her puppet and a spy. She was the one who discovered Songlian’s false pregnancy. Understanding Songlians’s weak point, she used it against her by exposing her fraudery to Zhuoyun; She knew that she could never win her battle with Songlian by means of an argument, so she fought and by her action. The way she attacks is normally done behind the mistress – using a voodoo doll to inflict her with a curse, spitting on her clothes as she walks out of the mistress’s house, acting as a spy for Zhuoyun. She was very cautious in her conversations with her fourth mistress, careful to say less than necessary to protect her plan: to crush her long despised enemy’s relationship with her master. Nevertheless, her caution was in vain - Songlian found out that she was an accomplice to the second mistress. This lead to her downfall. Master Chen Master Chen, the "supreme leader" and the husband of the four mistresses seems to have all the power in the story. He works and acts as the ruler of their neighborhood, and whoever contravenes to the customs will have his corresponding punishment. Master Chen imposes on the mistress his authority by forcing his traditions on them. In their patriarchal society, their ancestors assumes a spiritual role - thus one of their traditions is to worship, respected in their family rituals. They believe that their ancestors are able to protect them from harm; thus they honor them so that they could receive their favor and protection. In view of this, all his concubines and future ones are obliged to follow this tradition. Master Chen was never fully exposed in the film. He was always seen behind the silk clothes or the camera is focused on his back. This treatment to his character imbibed to us a feeling that he will never be fully grasped. There’s an aura of mystery which radiates a certain kind of sacredness which is venerated to him. “Housekeeper, get her good medicine. Never mind the money or people will say we let our servant die” Since Master Chen, the ruler of his neighborhood and a well-known man, has so much reputation lying on his name, he had to protect it from any issues against him. Master Chen wanted to save Yan’er—who served him for a long time— after freezing herself to death not because he is truly concerned about her, but he did not want the people to think that he is a no-good leader, and he wanted to free himself from guilt. Foot massage, different houses for each concubine, wealth, luscious food, power— these are some of the privileges of the mistresses get, the things people want to get in life, the reason Songlian entered the walls of the Sanheyuan. The promise of better life hides the reality of pain and oppression, which they will never get away with, except the day of their death. Is power really on the hands of the Master? “After a few days, you won't have to leave” “That bitch, never mind her” A man who seems to be strong and manipulative is ironically controlled by her mistresses. He is a moth that is attracted to a blazing flame. The fourth mistress was able to deceive all people, including the master, when she pretended to be pregnant. He was not even able to resist the request of Songlian to

eat her breakfast with the other mistresses, which was their tradition. And the loud singing of the third mistress every morning was not stopped by the Master, only showing that he is not in full control when it comes to the mistresses. The Red Lantern, the Foot Massage, and the Flute Throughout the course of the film, the red lantern had several symbolisms. First, red lanterns became a symbol of power. Even in the ancient times, Chinese people have used lanterns as a status symbol. The mistresses vied for the lanterns because they are hungry for power. In a fortress like theirs, where tall walls have excluded them from the rest of the world, they lost their sense of free will. Having their lanterns lighted, it created an illusionary freedom (which they thought of as power) to them. They got to decide for the menu and they were pampered with the very symbolic foot massage. These privileges fed their egos and left them wanting more. The red lantern may also signify Songlian’s emotions. The fire in the lantern are her ionate desires which are being protected by the red cloth - the filter that she uses to mask her emotions. She played the game well because she guarded her emotions, which became very evident when she spent the fight for the first time with her master. When she said, “Put the lights out,” she may be talking about her emotions. Because in a game like this, emotions must be set aside. The red lantern is also a symbol of knowledge. In a game where emotions would lead to discourse, one should resort to his/her wise discernment of things to win. Songlian was the most educated that’s why she had all the cards in her hands at first. But when the power and luxuries got into her, she has let her emotions overrule her thinking. If only she had used her education better, she could’ve get it together and didn’t end up insane. The foot massage is a very symbolic tradition for Chinese women. The feet of a woman is said to be a man’s fetish. A woman’s feet is believed to another gateway to her genital. The smaller the woman’s foot is the smaller her genital is and the better for the man. What added up to the hype for this massage are the sounds that it made which echoed throughout the compound. These echoes are like slaps to the other mistresses’ faces, creating a tension in the atmosphere. The hammer used for the foot massage symbolizes privilege, and the echo of the sound created is represents the constant competition between the fellow mistresses. This gives an erotic implication of the physical ministrations enjoyed by the privileged mistress. Her capacity to play the flute is one of her distinctions among her co-mistresses. This reiterated that her knowledge is the key to her power. The flute, its resemblance with the phallic pen, and the way it is played denote that she can satisfy her master not only psychologically, but she can also satisfy his master’s fetishes. The Astronomical Seasons Summer, autumn, and winter. The use of traditional theatrical techniques serves as one of the mise-enscénes that established the environmental setting and the age of time of the film. The atmosphere of the overworld was concocted and elevated with sceneries that depicted the said seasons which divided and ordered the film’s progression. However, these seasons don’t only suffice the film itself as a milieu, but as well as a certain kind of manifestation or embodiment of the life experiences of the fourth concubine and the prevailing mood of the locale. The story is disted into four seasons, namely summer, autumn, winter, and then summer again. Each season has its own emblematic bourne, from color schemes and motifs to dominant feelings, each of which bears a kind of zealous and intellectual implication and significance. Each evident paramount color conveyed implies it’s own symbolism which sets the fashion and style for each seasonal division.

Summer: the season of vitality, ion, exuberance, and initiation. The period when Songlian commenced to the ill-fated, regrettable concubine microcosm drenched in diversifying hues of red. Nevertheless, the color of desire and willpower sooner or later somehow emblematized wrath, earthly desires, and portentousness. Songlian comprehended that grasping the master’s enthrallment lays her at the zenith of the concubine hierarchy which in turn she is granted the opportunity to certain benefactions like choosing what food she’ll have for dinner and receiving foot massages. In whatever manner or way, the granted power is only evanescent and ephemeral. By the end of the day, the red lantern is moved from one place to another, depending on the verdict of the master. The lantern is bestowed to the mistress with whom he wants to spend the night with. The concubines face mortification in witnessing the lantern transferred from place to place that draw on discordance and hostilities between them. It is apparent that both the second and third mistresses already knew how to contravene their coequals’ schemes to get the attention of the master. The first concubine is the only one who declined to immerse in such competition. Due to the fact that she bore the master a son many years ago, she is now regarded as antiquated or archaic. Nonetheless, she is considered to be the autocrat of the ménage when the master is away. Despite of this authority, she’s still imperceptible to the eyes of the master for his bedazzlement is only directed to the alluring beauty of his younger mistresses. Songlian on the other hand, quickly learned that she, too, without a hitch, is easily disposable and oblivious after witnessing the lantern withdrew from her place. Envy and resentment ignited her desire to partake in this so called disgraceful game. But nothing is permanent. In “Change,” Poole writes, “Seasons come and go / Sceneries change over time / Nothing stays the same” (1-3). Autumn: the season of transition, preparation and culmination - it’s mother nature’s ‘last hurrah!’ before indulging into winter’s dormancy and slumber. The perfect embodiment of the changing foliage people see this time of year. By this time, the erudite and shrewd Songlian ascertained that it is impossible to earn the master entirely, in spite of her labor. Her fate is just the same as the others in which their value is at the clemency of their master’s self-forbearance. The purpose of the mistress is to merely appease the master, and if it abates, the master shifts on to the other. The colors of this season is emulsified by embrittled shades of orange and yellow, which implies Songlian’s ebbing crave for life as her sense of self is removed from within her soul. Her zest for life has already vanished. Latterly knowing that her flute was burned by the master and that it was the only keepsake of her past, she felt her life was fading away. Everything seems to be falling apart. Winter: the season of silence, introversion, and contemplation. Life is still, life's potent, life is indwelling. Or is there even life left? It is the season that invites us to quiet the mind and tranquilize the soul. But in contrast, it mainly stand for hopelessness in the film. The austerity of the tintless plain white color made every scene cold, desolate, and gloomy that also accentuates Songlian’s frivolousness. From the time Songlian’s lanterns were covered, when Yan’er was punished of her wrongdoings, and when Meishan was caught having an affair with the doctor. It is apparent that hopelessness was knocking at the door to each of the characters’ hearts. And just like a burglar, it creeped inside the heart and soul of Songlian, corrupting every bit of hope she had within her. It seems as though to perish and die became the more bewitching option in spite of the profusion that encircles her. From the the numbing death of Yan’er to the nefarious demise of Meishan, it is evident that the prevailing emotion of this season is disconsolation and melancholy. However, the death of Meishan can also be considered as a blessing in disguise for Songlian herself since it gave her a chance to

be free from being the master’s center of attention. The death of Meishan later on gave way for the master to choose a new concubine. There is no longing for life, since there is no life at all. And where there is no life, there is no hope. Spring: the season that was never seen. By being another transitional period, it is a time of phenomenal renewal. The earth rejuvenates and reawakens from her slumber. Of all the four astronomical seasons, spring was not shown in the movie. Heck no one mentioned it even once. But why? Spring represents hope and vitality, thus represented by the vivid color green, the exact opposite of the dominant mood and theme being portrayed in the film. The concubines were all filled with hopelessness, hatred, and deviousness as they continue to do the same things over and over again: to compete and struggle for power. A granted power that will not last, a granted power that will soon fade away. Summer once more. The film concluded with summer again and within this period, a fifth concubine is welcomed to the menage. After witnessing the distress, the depravity, and the atrocity of being at the mercy of another man’s self-centeredness, Songlian became insane and went lunatic. Her dementia is her last resort primarily because it is the disallowance of her past, the refusal of her present, and the rejection of her future. Mistress or Master, who is more powerful? In the Chinese culture, a man can be determined powerful if he has multiple concubines with him. These women can be related to personal properties of a rich man. He could use it any time he wants. Concubines’ purpose is to add or beautify a man’s reputation or self-esteem by being able to produce lots of children and also for limitless sexual use of these women. A man can only have one wife but can have numerous concubines depending on how they can afford it. Songlian, being the fourth mistress, is another addition to the master’s ego on being a man. The master can use her any time for his sexual desires. But is it really the man who uses a woman for his desires more powerful or the woman who manipulates the feelings of the man? In the movie, the mistresses used strategies to win the man by making their competitors look bad. At first, Songlian tried to order his husband by telling him to turn off the lights but it did not work, therefore the man is still in power. She then tried different strategies to be able to be dominant like how she acted cold when the third mistress asked for the master to accompany her on Songlian’s wedding night. Songlian said “Go, don’t come back to me again”. By acting this way, the master preferred to stay on Songlian’s palace. She also used her ill-temperedness by bluntly asking for the food to be delivered in her house. Despite the fact that the master warned her about being backstabbed, she still won over the argument. Songlian feigned pregnancy in order to gain authority in the compound. According to the customs, when one of the mistresses is pregnant, the lanterns would be lit day and night as a sign of longevity. She was then given all of the master’s and servants’ attention. She can request for a foot massage any time, ask for the food to be brought on her room and even requested to the master for a massage from her competitor, the second mistress. Even if the man thinks of himself as the powerful one, he is still the one being played at. He who only thinks of his own pleasures is the one who is easier to be fooled by his wives’ charms or act. The mistresses make their master feel like he is in authority when they themselves are the ones manipulating the feelings of their man. The master is being given an illusion of power. Conclusion

For whoever has her lanterns raised and lit up shall be pampered with all those luxuries, only for the night. There’s no sustenance of power. Their endless saga would continue. They would just use and outsmart each other just to have the illusionary power that they thirst for. Because just like the seasons, power is not permanent nor absolute. In the struggle to attain power, one has to play the game well. It takes more than authority to be considered powerful. It takes wit and composure to sustain power, because there’s always a threat of havoc which is bound to happen if this power is not controlled. As they wait in front of their respective doors, one is anticipating to give her smirk of victory, while others are preparing for their moment of shame. The red lantern will be raised, again. References: Books Giskin H. & Walsh B. (2001) An introduction to Chinese culture through the family. Albany, New York: State University of New York Press. Greene, R. (1998). 48 Laws of Power. Great Britain: Profile Books LTD. Cui S. (2003). Women Through the lens: Gender and nation in a century of Chinese cinema. USA: University of Hawai’i Press. Fielding J. (2008). Discovering world religions at 24 frames per second. USA: Scarecrow Press, Inc. Journals Xie, Y. (2013). Gender and family contemporary china. Retrieved from http://www.psc.isr.umich.edu/pubs/pdf/rr13-808.pdf Rutgers, J. (2011). Dissonance rising: subversive sound in zhang yimou’s raise the red lantern. Retrieved from file:///C:/s/mis/s/226-1687-1-PB.pdf Hsiao, L. (2010). Dancing the red lantern: zhang yimou’s fusion of western ballet and peking opera. Southeast Review of Asian Studies, Volume 32, pp. 129–36. Retrieved from http://www.uky.edu/Centers/Asia/SECAAS/Seras/2010/14_Hsiao.pdf