Analysis of Film Techniques in Zhang Vamou’s Raise The Red Lanterns

The movie, "Raise the Red Lanterns", by Chinese director Zhang Vamou, uses many detailed film techniques to portray the twisted tale about a young woman, Songlian, forced to give up everything such as personal freedom and choice, to enter the life of a fourth mistress to a very powerful figure. From the beginning of the film, to the end, the directors artistic and clever techniques emphasize SonglianÆs solitude, mental torment and experiences in the insane household, and the distorted relationships between all living under the roof. His techniques include the constant focus on Songlian by herself, the slow moving introduction to the film, his portrayal and significance of the red lanterns throughout the movie, and the way he portrays each character and how they interact with each other and their reactions towards the lanterns.

The plotline is based on Songlian and her experiences being forced onto an arranged marriage at age 19 to the powerful figure known throughout the movie only as "master". Her experiences include her interactions and rivalries with the other three mistresses - first mistress, second mistress (Zhaiyun), and third mistress (Meeshan). SonglianÆs solitude is a constant focus, especially during the beginning of the film, where she is first introduced into the arranged marriage.

The director manages this very distinct focus on Songlians solitude by the way the camera is always focusing on her alone, and there is always a very dull and silent aura on her and everything throughout the movie. For example, the very first scene introduces this concept by showing SonglianÆs face only, speaking to someone who we cant see - who is introduced as her mother. Though the most important element is the focus on Songlians face and the accentuation on her loneliness. Her face is very still, and she speaks without much emotion, though we can see that she is being forced into something she has no choice or freedom in, i.e. the marriage. Her solitude also comes out towards the end of the movie, where she begins to lose her mind. Again, we constantly see her alone, as if she is delusional about her surroundings, giving up trying to understand the meaningless lives of all under "masters" rule.

Her interactions with the other mistresses of the household are indeed very complicated. The director portrays the absurdity of the household through these relationships. For instance, first impressions are always thought to be the right and honest ones, though the film takes away all meaning to it as the plot develops. Her first impressions are misleading, in particular the impression of second mistress. Second mistress, Zhaiyun, comes forward as the friendly one, and the director deliberately contrasts her behaviour with the other two mistresses who seem colder, especially third mistress, Meeshan. However, as the plot develops, so do the real personalities. When Songlian finds out the truth that Zhaiyun is plotting against her, i.e. the discovery of the cursed voodoo doll, and that Meeshan in actual fact is probably the only one she is safe with, the audience also finds out how absurd and unstable the household is - where things you believe in are in actual fact misconceptions of the truth.

The significance of the red lanterns is stressed throughout the film, as they are indeed the leading element of the plotline. The director is constantly focusing on them and there importance both physically with the camera, and also through the characters reactions and feelings towards them. The basic rule or concept of them is that if the red lanterns are lit at a mistressÆs quarters then the master will be spending the night with them. The point comes out that if a mistress has the lanterns lit, then she has a kind of control and has greater respect from the servants of the house. For instance being able to choose meals, and having a foot massage. But even if they may have slight control, in actual fact they become dependant on the red lanterns being lit for them. The director shows this through the tension that is created through the mistresses as they rival against each other to become the mistress for the night. He also accentuates the shame of disobeying the red lantern "law". For example when Songlians is caught out for lying to the "master" her lanterns are covered. There is a lot of significance in this scene as it shows how seriously the red lanterns are taken in this household. The director makes a very obvious contrast between the red lanterns, and the black dusty covers that are put over them - the scene builds up faster as the lanterns are covered and then suddenly stops, and we see Songlians quarters, black, covered and dreary.

There is also definite significance in the way the director portrays the character of the "master". All through the movie, his face is never shown. It is either his back seen, his figure in the distance, or he is covered by something or someone. Only his dominating voice is heard. This is done to bring forward the image of him being a superior being in the household. All human qualities are taken away from him. For example, he has no name - is referred to as master; he seems to have no face - it is never shown; and he seems to have no remorse, or human pity - only a dominating, controlling aura.

The insanity comes forth more towards the end, where things become drastic. For example, the death of Yan, Songlians maid, and the murder of Meeshan highlights the escalating disorder and madness in the film. Though they were not intentional, the fault still lies in Songlians hands which begins her mental breakdown. Her final loss of sanity is the conclusion of the film, i.e. lighting all the lanterns in Meeshans room and playing her opera, and finally the image of her pacing in the corridors dressed as she was once before, the first time she arrived, still innocent and vulnerable, and the director does this on purpose to draw the audience into the depths of Songlians breakdown.

Thus the audience is exposed to a variety of film techniques which represent similar issues of madness, & different levels of disorder. The director is effective in his representation of the characters transgression into mental isolation, and this can be mostly accrued to the effective film techniques.