Ju Dou is an exemplary melodrama that uses its setting, a small-scale dye-works, and filters, to create an ‘excessive’ colour scheme that’s perfect for the overwrought narrative of sexual betrayal. Jinshan, the brutal owner of the works, buys a third wife, Ju Dou (Gong Li), after beating two previous ones to death in anger over ‘their’ inability to produce a male heir; it is he, in fact, that is impotent. His adopted nephew, Tianqing (Li Baotian), is sympathetic to her plight and she seduces him and produces a boy that Jinshan thinks is his. The child, Tianbai, grows up to be monstrous and kills both his ‘fathers’; one accidentally.
Zhang Yimou’s direction, partly no doubt due to Chinese censorship (it was still banned for two years), shoots the sex indirectly: the first time Ju Dou and Tianqing copulate an enormous cloth, dyed deep red, unravels from its position into what looks like a bloody mess on the floor. Ju Dou had claimed to be ‘pure’ just before so, presumably, Jinshan is a bit confused when he thinks the child is his.
Obviously there are specifically Chinese elements in the melodrama such as the funeral ritual for Jinshan where Ju Dou and Tianqing have to try and prevent the coffin reaching the burial grounds 49 times. Propriety demands that the two be separated afterwards and so over the following years they can only see each other in secret. ‘Propriety’ doesn’t quite explain the situation as Confucian tradition would demand their death if they were found out. In western melodrama ostracism is often the highest price paid for breaking social mores, as in All That Heaven Allows (US, 1955).
Confucian values are highly patriarchal and the film is a critique on their continued prevalence in modern China. At the end the film steps into gothic horror as the boy Tianbai has committed the ultimate sin under Confucianism in committing patricide (twice in fact) and Ju Dou burns down the dye-works. The film ends with a freeze frame of her engulfed in flames.
Unfortunately the only copy I could get hold of, a DVD via Lovefilm, reminded me of watching much-used 16mm films at university. It was heavily scratched in places and although the colour isn’t too bad, I’m sure that the palette could have been better. It’s strange that one of the mosts feted of Chinese directors, Zhang was responsible for the Beijing Olympic ceremony, Hero and House of Flying Daggers, should not have a decent DVD available in this country.
Filed under: Chinese cinema |