Chinese filmmaker and visual artist Qiu Jiongjiong draws from the biography of his grandfather, opera performer Qiu Fuxin, for this historical comedy-drama about the uneasy alliance between art, politics, and commerce.
Starting in Sichuan Province during the 1920s, Pocky (Qiu Zhimin, the filmmaker's father), a middle-aged barber and opera aficionado, saves a nationalist general during wartime, and uses his promotion to commander to found New-New, an opera school and theatrical troupe. Excerpts from New-New's painterly productions play throughout the film.
One day, scruffy seven-year-old orphan Qiu Fiu (the irrepressibly puckish Chen Haoyu), son of a deceased actor and a mother who abandoned him, shows up at New-New to the irritation of the other students, all of whom are nearly twice his size. It doesn't help when he gives everyone lice, but he soon proves "a natural." His singing particularly impresses Pocky.
Qiu then picks up the story in the 1930s as China falls to Japan. After a brief, unsuccessful period as a free agent, Qiu (now played by Cai Yifan and later by the impishly expressive Li Sicheng) returns to New-New, where he specializes in comic roles.
By 1945, Japan has exited the picture, while nationalists and communists battle for control of the country, diminishing Pocky and scattering troupers "like monkeys." Qiu now has a wife, Huafeng (Guan Nan), and a daughter. They will later have a son, Ah Hei (Xue Xuchun), who will join Beijing's student-led Red Guards in early adulthood.
Domestic stability aside, a move to Taiwan ends with the couple addicted to opium and reduced to begging. As communism becomes the rule of the land, Pocky puts the troupe back together, transforming "the theater of joy" into "the people's theater."
Qiu's family shrinks and grows during the Cultural Revolution. Communism isn't especially good to them or to the troupe, but it doesn't stop him, at least not completely. The parts grow smaller, but he remains an actor until the end, which the director depicts in a matter-of-fact manner as if he were simply moving on to a different stage—rather than to the underworld.
In his seventh film and first narrative feature, Qiu directs scenes like plays, engaging in surrealistic flights of fancy--exquisitely shot by Feng Yuchao "Robbin"--involving painted backdrops, miniature models, and animal masks (the first time Qiu gets drunk, his companions appear to sprout animal heads). Inter-titles help to orient viewers with each regime change.
As a framing device, he depicts a red-capped Qiu in the afterlife, circa the 1980s, conversing with a pair of disheveled, rickshaw-driving demons, Oxhead, aka "Oxey" (Liu Boyu), and Horse-face, aka "Horsey" (Huang Lingchao).
At 179 minutes, A New Old Play might seem like a daunting watch, except it's a lively, lovely film, even in the saddest moments. In its scope and theatrical milieu, it bears comparison with Bernardo Bertolucci's Oscar-winning The Last Emperor and Chen Kaige's operatic tragedy Farewell, My Concubine, though Jiongjiong's film is more farcical, absurdist--and fun.
What public library shelves would this title be on?
A New Old Play would fit with International and Chinese-language film shelves in public libraries.
What type of college professors would find this title valuable?
Professors of Chinese history and culture will find a unique take on the 20th century in Qiu Jiongjiong's epic film. Theater and visual arts instructors might also find it of interest, though presenting it in parts may suit students best.