Mei Lanfang and “The Peony Pavilion” (Part 9) | Mei Lanfang Details the Filming Process of the Kunqu Opera Film “The Peony Pavilion” (Part 5: Conclusion)

The flower goddess’s veil was once made of georgette—richly colored and heavy, clinging to the body and unable to billow. Now that it has been replaced with a sheer, softly hued tulle, it looks far more graceful and fluid.

The flower goddesses’ dance formations have also shifted: groups of five emerge—one from the ground, another from various vantage points along the vermilion railings and flower platforms—while there are also scenes of duets, sometimes panning out from a close-up of a single dancer, or zooming in from a wide shot to reveal that same figure in close-up.

A close-up shot of a flower deity first veiled by a sheer veil, gradually revealing her face, is exquisitely graceful and full of charm. All of this imparts a sense of ethereal lightness, as if she were floating in midair, appearing and disappearing without a trace. The group dance likewise achieves a remarkable level of precision, beauty, and dynamic variation.

There is also a bird’s-eye view shot of numerous flower spirits encircling Du Liniang and Liu Mengmei, forming a single blossom; the flower spirits are positioned on a rotating circular platform, with flowers and spirits superimposed in intricate layers, and shots of petals scattering across the figures of the flower spirits—all of which possess a strong artistic flair.
 

  

                                                        A New Year portrait of Mei Lanfang and Yan Huizhu in “The Peony Pavilion”

After the re-shoot of the “Spring, Oh Spring” scene, the emotions indeed became intertwined with the springtime scenery outside the window.

But I feel that this monologue still falls short in certain passages. For instance, when the character stands alone by the window, gazing at the spring scenery, lingering a bit longer would better convey the mood of languid springtime and the subtle stirrings of sentiment. This is because, during recording, I only had a rough idea of the set’s spatial arrangement; I basically followed the stage dimensions, slowing down the pace slightly as I recorded. It wasn’t until we did a camera‑test on location that I realized: if more empty space had been left, there would have been room for greater expressive nuance.

Also, I think the shot of Du Liniang’s entrance isn’t prominent enough.

The director said they could shoot an additional close-up: as the camera pans in from the moon‑shaped window, a few plum blossoms just beginning to bloom are visible, wisps of incense rise gently from the brazier, and Du Liniang lifts the curtain and steps out. They then reshot the scene for “Rao Di You.”
 

Later, I received a letter from Cen Fan of the Shanghai Haiyan Film Studio, which read: “Having seen the rough cut of ‘A Dream in the Garden,’ I am very pleased with the color, makeup, acting, and set design.” He congratulated us on the success of this production and expressed his delight for me. In 1955, he served as the assistant director on the film “The Stage Art of Mei Lanfang.”

Zhenfei wrote to me, “Shanghai Radio broadcast the recording of ‘A Dream in the Garden’ during the Spring Festival. Upon careful listening, I felt that you truly brought the spirit of the piece to life, conveying Du Liniang’s thoughts and emotions through both your vocal style and your voice. It is clear that this artistry has been the result of decades of diligent study and rigorous practice. In particular, your renditions of the arias ‘Shanpo Yang’ and ‘Mian Da Xu’ achieve the elusive quality of ‘stillness’—a pinnacle of the art of musical interpretation—and leave one with a sense of profound serenity.”

 

Comrade Zhenfei’s encouragement has made me feel ashamed.

 

I have been fond of Kunqu opera since my youth, and over the years I have devoted considerable effort to it, albeit intermittently. This time, during filming, I approached it with earnest dedication; though I have made some progress, my vocal technique still falls short of perfection. I continue to study with the humble mindset of a student, eager to learn.
 

Summary

 

In addition, I feel there are still areas for improvement in my performance.

 

Due to the conventions of traditional opera, actors typically perform facing the audience. In film, however, when the camera does not stand in for any person or object, actors are not permitted to look directly at the lens. This created a mental hesitation during filming, causing my gaze to consciously avoid the camera.

 

I once thought: When filming a conventional narrative feature, actors should adhere to this rule; but when shooting an opera film, it might be worth making some allowances. Of course, we shouldn’t deliberately look into the camera—but if we happen to glance at it unintentionally, it won’t detract from the artistic effect; on the contrary, it may even help render facial expressions more natural.

 

I haven’t put this idea into practice yet; in the future, when I make films again, I plan to test it through hands-on experience to see whether my view is right or wrong.
 

 

Summary

 

Overall, the production of this film is quite satisfying.

 

First, regarding the use of color, no single hue is emphasized; instead, the interplay of light and shade, along with variations in intensity, achieves a remarkably harmonious balance.

 

The design of the stage props not only captures the spirit of the era but also provides ample performance space, allowing the actors to unleash their creativity.

 

The cinematography is handled with flexible and varied techniques, achieving seamless transitions that both preserve the fine traditions of operatic performance and highlight the distinctive qualities of cinematic art, while also reflecting the artistic style of the director and the cinematographer. The sound recording has likewise achieved remarkable results: thanks to carefully calibrated volume levels, the audio is both clear and gentle, offering a truly pleasurable auditory experience.

 

Makeup techniques are also a crucial aspect to explore in a theatrical film. This time, the conventional emphasis on stage makeup has been set aside, seamlessly integrating cinematic and stage makeup to achieve a lustrous, vivid effect.

 

Actors, too, under the shifting interplay of close-ups, medium shots, and wide shots, strive to delve deeply into their roles in accordance with the spirit of the script and the director’s guidance, bringing each disciplined gesture of traditional opera closer to everyday life and enhancing their inner performances to meet the demands of film.

 

All these achievements were made possible thanks to sound leadership, the close collaboration of the entire production team, their humble dedication to study and research, and their concerted efforts, which enabled us to accelerate progress, ensure high quality, and successfully complete this filming assignment.

 

Editor: Deng Chao | Source: Yang Kun Studio

 

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