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.Her short-lived role as anindependent career woman is soon replaced by all-too-familiar domestic responsibilitiesas a pregnant wife.The foreman refuses to give Jianping time off to look after Lilianwho, as a result, delivers her baby boy without medical supervision.A few days after thedelivery, she falls down the stairs and injures herself seriously while doing housework.Although throughout The Plunder of Peach and Plum Lilian is projected as a sympatheticfigure, in a time when the life of a young person was ideally dedicated to nationalpriorities (according to the Graduation Song that appears at the beginning and the endof this film), her dramatic fall down the stairs and her subsequent tragic deathsymbolically negate her choice both as a wife and as a mother.In so doing, the film alsoexposes the darkness of the society that allows no room for her to live as a real woman.To save Lilian, Jianping pleads with the foreman to advance him some money, but isrejected.Desperate, he opens the cash drawer in the foreman s absence and steals what heneeds.But it is too late.Lilian dies from lack of proper medical attention.The last private space Jianping and Lilian share, the room, though narrow, small andsituated in an old building, is enclosed.But Lilian s tragic death seems to have destroyedthis enclosed space.Now the rain relentlessly leaks in through the holes in the roof,dripping into a wash-basin as Jianping holds his baby, pacing up and down in the room.His awareness of the vulnerability of his remaining private space has a dramatic effect onhim, for suddenly he leaves the room with the baby, and puts the baby in a foundlinghospital s box and walks away.The child s helpless cries soon change his mind.He goesback to the hospital, but all he finds is the small, empty box.His despair, triggered by theemptiness of the box, deepens as he walks in the rain in the night, dejected and utterlyhopeless.The foreman and policemen are waiting for him in his room.In his attempt toresist arrest he shoots one of the policemen and is thus jailed, tried and sentenced todeath.The grand and pure physical space depicted in the auditorium at the beginning ofthe film is now diminished to a minimum, a jail cell, as is Jianping s sense of self.According to the left-wing filmmakers, among the problems Jianping and Lilian (andlater their compatriots in Crossroads) face, is their inability to negotiate between theirpure ideals and the dark social reality.Young graduates who believe in the value ofhonest relationships and honest work learn that neither of these works in the 1930s.35 Thetheme song, which appears both at the beginning and the end of the film, is now atrademark of the left-wing Chinese filmmakers of the 1930s.It points out how one shouldsacrifice oneself for society and the nation:Classmates, let s get togetherto carry out the mission of the nation.Listen, the sorrows of the people! Self and society 89Look, territory falling into enemy s hands!Do we choose to fight or surrender?We should be the master to fight to the death on the battlefield,and not be slaves working for rapid advancement in our careers.Today we are promising as the new graduates,Tomorrow we are the pillars of society.Today we are singing together,Tomorrow we will surge up as mighty waves to save the nation!Mighty waves, mighty waves grow constantly.Classmates, classmates, offer your strength,to carry out the mission of the nation!If this song sets the standard for the college graduates at that time, then neither Jianpingnor Lilian lives up to the standard.Throughout the film, the depiction of Jianping andLilian s private life is directly associated with the darkness of Shanghai: unemployment,illness, death, poverty and crime.This darkness is part of the overall atmosphere of Chinathat would soon be besieged by Japanese imperialist troops.Both Jianping and Lilian aresuffocated in their reduced private space.Therefore, The Plunder of Peach and Plum is ametaphor suggesting the unavoidable tragic fate to pursue personal happiness in a time ofnational disaster, because the self should be totally sacrificed for the betterment of thenation, according to the ideology of the left-wing filmmakers.Ironically, Jianping andLilian, both are pure and upright, never show any inclinations of wanting to advance theircareers [ Pobierz całość w formacie PDF ]
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.Her short-lived role as anindependent career woman is soon replaced by all-too-familiar domestic responsibilitiesas a pregnant wife.The foreman refuses to give Jianping time off to look after Lilianwho, as a result, delivers her baby boy without medical supervision.A few days after thedelivery, she falls down the stairs and injures herself seriously while doing housework.Although throughout The Plunder of Peach and Plum Lilian is projected as a sympatheticfigure, in a time when the life of a young person was ideally dedicated to nationalpriorities (according to the Graduation Song that appears at the beginning and the endof this film), her dramatic fall down the stairs and her subsequent tragic deathsymbolically negate her choice both as a wife and as a mother.In so doing, the film alsoexposes the darkness of the society that allows no room for her to live as a real woman.To save Lilian, Jianping pleads with the foreman to advance him some money, but isrejected.Desperate, he opens the cash drawer in the foreman s absence and steals what heneeds.But it is too late.Lilian dies from lack of proper medical attention.The last private space Jianping and Lilian share, the room, though narrow, small andsituated in an old building, is enclosed.But Lilian s tragic death seems to have destroyedthis enclosed space.Now the rain relentlessly leaks in through the holes in the roof,dripping into a wash-basin as Jianping holds his baby, pacing up and down in the room.His awareness of the vulnerability of his remaining private space has a dramatic effect onhim, for suddenly he leaves the room with the baby, and puts the baby in a foundlinghospital s box and walks away.The child s helpless cries soon change his mind.He goesback to the hospital, but all he finds is the small, empty box.His despair, triggered by theemptiness of the box, deepens as he walks in the rain in the night, dejected and utterlyhopeless.The foreman and policemen are waiting for him in his room.In his attempt toresist arrest he shoots one of the policemen and is thus jailed, tried and sentenced todeath.The grand and pure physical space depicted in the auditorium at the beginning ofthe film is now diminished to a minimum, a jail cell, as is Jianping s sense of self.According to the left-wing filmmakers, among the problems Jianping and Lilian (andlater their compatriots in Crossroads) face, is their inability to negotiate between theirpure ideals and the dark social reality.Young graduates who believe in the value ofhonest relationships and honest work learn that neither of these works in the 1930s.35 Thetheme song, which appears both at the beginning and the end of the film, is now atrademark of the left-wing Chinese filmmakers of the 1930s.It points out how one shouldsacrifice oneself for society and the nation:Classmates, let s get togetherto carry out the mission of the nation.Listen, the sorrows of the people! Self and society 89Look, territory falling into enemy s hands!Do we choose to fight or surrender?We should be the master to fight to the death on the battlefield,and not be slaves working for rapid advancement in our careers.Today we are promising as the new graduates,Tomorrow we are the pillars of society.Today we are singing together,Tomorrow we will surge up as mighty waves to save the nation!Mighty waves, mighty waves grow constantly.Classmates, classmates, offer your strength,to carry out the mission of the nation!If this song sets the standard for the college graduates at that time, then neither Jianpingnor Lilian lives up to the standard.Throughout the film, the depiction of Jianping andLilian s private life is directly associated with the darkness of Shanghai: unemployment,illness, death, poverty and crime.This darkness is part of the overall atmosphere of Chinathat would soon be besieged by Japanese imperialist troops.Both Jianping and Lilian aresuffocated in their reduced private space.Therefore, The Plunder of Peach and Plum is ametaphor suggesting the unavoidable tragic fate to pursue personal happiness in a time ofnational disaster, because the self should be totally sacrificed for the betterment of thenation, according to the ideology of the left-wing filmmakers.Ironically, Jianping andLilian, both are pure and upright, never show any inclinations of wanting to advance theircareers [ Pobierz całość w formacie PDF ]