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Cinema Online
  • 7/22/2024
Eng travels to KL on the anniversary of the 1969 riots to resume her mother's quest to look for the graves of her dad and brother who were killed then
Transcript
00:00I'm going to sing a Chinese song for you.
00:02I'm going to sing a Chinese song for you.
00:04I'm going to sing a Chinese song for you.
00:06I'm going to sing a Chinese song for you.
00:08I'm going to sing a Chinese song for you.
00:10I'm going to sing a Chinese song for you.
00:12I'm going to sing a Chinese song for you.
00:14I'm going to sing a Chinese song for you.
00:16I'm going to sing a Chinese song for you.
00:18I'm going to sing a Chinese song for you.
00:20I'm going to sing a Chinese song for you.
00:22I'm going to sing a Chinese song for you.
00:24I'm going to sing a Chinese song for you.
00:26I'm going to sing a Chinese song for you.
00:28I'm going to sing a Chinese song for you.
00:30I realize that there are many memories in this city.
00:32I realize that there are many memories in this city.
00:34They will be gradually pushed down with time.
00:36They will be gradually pushed down with time.
00:38At that time, I started a community art project with my friends.
00:40At that time, I started a community art project with my friends.
00:52On the night of the riot in that community,
00:54in addition to the people who went to the Great Wall Theater to watch the play,
00:56and there was another group of people watching the play in the community.
01:00As a result, those who had no time to escape hid under the theater.
01:04Some people hid in the temple and escaped.
01:13I was involved in the movie.
01:16We named it Puchang Spring Class.
01:18Puchang Spring Class was very important in the development of Cantonese opera in Kuala Lumpur.
01:23Puchang Spring Class was founded by Liang Xingbo,
01:28a very famous Cantonese opera singer in Malaysia.
01:32Many people don't know that
01:33Puchang Spring Class, one of the oldest operas in Kuala Lumpur,
01:38is located in Zhonghua Alley, Cishan Street.
01:44In the process of writing the script,
01:45I combined the development of Cantonese opera in Kuala Lumpur
01:50in many aspects.
01:52For example, the culture in the opera,
01:53the elements in the opera,
01:56the names in the opera,
01:58and the sayings in the opera.
02:03Later, when I was writing the script,
02:04we chose to use Puchang Spring Class.
02:06The main reason is that
02:07Puchang Spring Class is a very important
02:11spoken word for opera in Kuala Lumpur, Cishan Street, and Banshan Bar.
02:15In this film, we discussed with the director
02:24to use the new word for the first scene
02:27where Dou'e meets Cai Chongchang.
02:32The next scene is the most classic scene
02:37in the film, the June Snow scene.
02:42We used the traditional scenes
02:47to show the audience.
03:00The song, Dou'e Yuan,
03:01was originally from Guan Hanqing's
03:04original magazine.
03:05He wrote a lot about
03:08corruption in politics through opera.
03:12I think it's such a coincidence
03:14that he actually crossed the line
03:15between the politics of the time
03:17and the politics of the present.
03:19It's still an old theme.
03:22This snow scene
03:23was shot in the summer of June
03:26to show that Dou'e was wronged.
03:32In May, in Malaysia,
03:35for many people who didn't believe in Li Nan,
03:38it was also an unresolved grudge.
03:45This time, the director told me
03:47that I needed to learn to sing.
03:48I was very excited.
03:51It might be difficult for me
03:52because I haven't sung before.
03:54I have sung before,
03:55but I didn't sing very well.
03:57This time, there were experts,
03:59such as Mr. Yang Weihong.
04:03I was very confident.
04:04So I accepted the challenge
04:07and sang three songs in total.
04:24We invited Master Tsai Ying-hsiang.
04:27He is one of the most experienced
04:30opera performers in our field.
04:33He guided us in many aspects
04:35and gave us some advice.
04:37To me, he is a role model.
04:39He is a real actor from a rich family.
04:44He gave us a lot of advice.
04:45During the filming process,
04:48he was in charge of the female lead's make-up
04:52and acting.
04:53He gave us advice
04:55when we set up the stage.
05:03What do you usually do on the stage?
05:06We usually do this.
05:08When we put on make-up,
05:10we do it in secret.
05:12If you don't call me, I won't call you.
05:14If you call me, we won't recognize you.
05:16Once we are on stage,
05:18we don't say anything.
05:20When we are on the stage,
05:21we shout loudly.
05:23We put a piece of paper on the stage
05:25and put it in a circle.
05:26We put a piece of paper on the stage
05:28and put it in a circle.
05:30We put a piece of paper on the stage
05:33and call those ancestors
05:35to put a piece of pork skin into the circle.
05:37We have a tradition.
05:39There is a long road
05:41where an elder
05:44who is young andnes becomes an old man.
05:46He walks to a place
05:48where the old man put the pork into
05:51the old man's mouth
05:53when he is pass.
05:55This is the past time.
05:58Now, we have a new place
06:00and different platforms in Tacay.
06:02We have to use this metal to make a coffin for the dead.
06:08This is a big sacrifice.
06:10After making this coffin, everyone will be safe.
06:23The value of this culture is getting more and more important,
06:28but it is disappearing.
06:30I am very happy to be able to participate in this important national asset in the 50s and 60s.
06:44In this film, the director uses the elements of Cantonese opera
06:49to experience the most glorious period of Cantonese opera in Malaysia.
06:57Comparing to the present, there is a big difference.
07:00We can't go back to the past.
07:06Master!
07:07Dada!
07:08Yes!
07:14Drama culture is a modern theme that has always existed.
07:22As long as people and emotions exist,
07:25the emotional projection of our times will continue to extend.