Chan Man-Yuen
Musical films first appeared in Hong Kong cinema in the 1930s and became one of the most popular film genres of the time. The genre was a mixture of singing and dancing with a joyful atmosphere, in which characters expressed their emotions through their voice and body movements, progressively developing into heart-touching stories. Under such a form of presentation, the general public’s impression of musicals tended to focus on the positive aspects, presuming that the hero and the heroine would reach a happy ending. However, the arrival of musicals in Hong Kong cannot be considered merely as a new film genre, but it involved the social development of Hong Kong and the dilemmas faced by women at the time. Hidden behind all the singing and dancing were, in fact, undercurrents. This article will explore why musical films took root in Hong Kong at the time and how they developed their distinctive characteristics and constructed a style that differed from foreign musical films, thereby comparing the differences between the two.
As a matter of fact, Hong Kong musicals originated from a community called the “Song-and-Dance Troupe”, which was the very source for the development of local musicals. However, behind all the splendour and glamour were stories of misery. In the 1930s, the Song-and-Dance Troupe began to develop and became a new alternative for women to get out of difficult situations. Compared to men, women lacked the skills to make a living, coupled with the fact of losing their homes during the war, therefore, joining the troupe would mean new possibilities to them in life and work. Furthermore, until former Governor Peel announced the prostitution ban in 1935, prostitution in Hong Kong was still very common. There were more than 200 brothels at the time all over the city. Some women were forced into prostitution [1], as depicted in the film The Goddess (1934) starring Ruan Lingyu [2], where women ended up secretly working as prostitutes in order to survive, enduring all sorts of humiliation. Such situations did in fact happen in reality. After the prostitution ban, the brothels evolved into another form−the “Tour Guide Agency”. These agencies were originally from Shanghai, but after the fall of the city, they were relocated to Hong Kong [3]. By 1939, there were more than 80 agencies in Hong Kong, and the services they provided were not only limited to sex but also bathhouse, massage, manicure, etc. [4] At that time, they even published a magazine called the Hong Kong Tour Guide Special, dedicated to introducing tour guide girls. [5]
However, after the prostitution ban, many women “mended their ways” by turning to work as singers or dancers [6], since this was an alternative to selling their bodies for money. At that time, a certain Song-and-Dance Troupe began to gain popularity in Hong Kong. Song-and-Dance Troupe was a kind of theatre and musical troupe developed in Shanghai from the late 1920s to the early 1930s, most of them were active in theatre and broadcast, and the members were all female singers. Selling artistic talents instead of their bodies, even though there was still inevitably a darker side to the troupe, was still an attractive option for women at the time as a way for them to escape from their plight as well as to join the show business, thus it was no doubt an opportunity for women to break away from the chaos. Besides, many women dreamed of becoming singers and dancers and were determined to pursue their dreams and shine on stage despite all the hardships. I would deduce that many women saw it as a stepping stone to new career paths, as can be proven by the subject matter of Hong Kong musicals in the 1930s.
In Stage Romance (1938), directed by Tang Xiaodan and written by Hui Siu-kuk, the story is precisely one that is based on the Song-and-Dance Troupe. The heroine, Lam Oi Ling, is passionate about performing, so she puts herself forward to the Art Flower Troupe but is rejected by Ma Lun, the troupe’s master. Later, due to the performance errors of Song Li Li, the troupe loses their performance contract and faced heavy criticism. On the other hand, despite being rejected, Lam Oi Ling continues to strive for excellence. Under the training of the three Fo brothers, Oi Ling’s talent is finally recognised by Ma Lun. But due to the troupe’s financial difficulties, Ma Lun and Oi Ling can only sing on a broadcast for the time being, and their performance is a huge success. As time goes by, the two begin to grow fond of each other[7]… Not only does the film depict the bright and dark sides of the troupe in reality, but it also shows the image of women willing to fight for their ideals despite all the difficulties (See Figure 1).
As mentioned above, joining the troupe offered women a new option of work, and some film companies saw the opportunity to set up song and dance classes to recruit talented women, of which Nanyue Film Company is an example. Dozens of talented young women were recruited and trained [8]. Besides, recruitment advertisements were published in the newspapers, and talents were selected from famous theatre troupes in southern China. [9] The training was extremely rigorous, starting at 2 pm and finishing at 4 pm on a daily basis. The groups were established according to height and physique, from the tallest to the shortest, from the highest level to the lowest level, to guarantee a certain standard of performance. At that time, Nanyue recruited dozens of young women, among whom the youngest was only 14 or 15 years old, such as Chu Hsiang-yun, Tang Ching-seung and Chan An-na, and cultivated a group of rising stars who would shine on stage.
As mentioned earlier, the themes of the musicals did not only focus on positive aspects but, more importantly, fully reflected the social reality behind all the singing and dancing. Take A Mysterious Night (1937), directed by Chan Pei, as an example, which tells a story about the colourful diversity in the city at that time, as mentioned in the special issue of the film: “Stimulating for both body and mind! The hidden side of the world is exposed!” [10] (See Figure 2). In terms of the portrayal of women’s image, most of the female characters in the film are truant schoolgirls, street prostitutes, and women drunk on love frequenting dance clubs. A Mysterious Night was originally called The Dark World [11], truly reflecting the tragic and dark sides of society. All the dialogues in A Mysterious Night are sung in form of recitative [12]. As shown in the special issue of South China, many song titles are associated with women’s experiences. For example, the song entitled “The Pretty Waitress “, is accompanied by a short introduction: “Waitress is supposed to be a respectable female profession, but the madman often assaults her; he smirks and makes filthy remarks in public…” [13]. Another is titled “Teasing the Female Worker”, in which “Ho Siu-hung overetstimates himself. He would threaten the female workers with their salary and is so greedy that he wishes to tease three ladies at the same…” [14] (See Figure 3). The film depicts women’s plight at the time and realistically reveals the dark corners of the city.
However, as singand-dance troupes became more popular and Hong Kong society further developed and opened, Hong Kong’s 1930s musical films became more diverse, reflecting more than just the darker side of society. At that time, many domestic and foreign song-and-dance troupes visited Hong Kong. Song-and-dance troupes from Shanghai and Guangzhou had come to Hong Kong several times to perform. For instance, the Plum Flower Dance Troupe came to Hong Kong in 1933 and performed at the Tai Ping Theatre, where they played Spider Web Cave, Yang Guifei, My Love Parade, Backstage, etc. Later in 1935, the troupe revisited and performed at the Ko Shing Theatre for three consecutive days [16], where they played pieces like “Song of the Fishermen”, “Hula Dance” and “Dixie”. The newspapers described their performances as “spectacular” and “splendid”, thus showing the public’s appreciation and recognition of the culture of musicals.
Apart from Chinese troupes, foreign troupes had also visited Hong Kong. On 21st June 1933, The Industrial & Commercial Daily Press published the headline “The Hollywood Troupe is Back” [17] and included extensive coverage of the then world-renowned American song-and-dance troupe, which was supposed to pass through Hong Kong, with no intention of staying to perform. However, after repeated requests from the Tai Ping Theatre, the troupe finally agreed to perform in Hong Kong for four days. Moreover, the journalist added, “it is said that the performance would be a sexy, flirtatious one”, “far more exciting and sensual”. Not only did this reflect the characteristics of foreign troupes, but it also demonstrated the locals’ approval of performance with such openness. In 1936, the Central Theatre offered to invite a German art performing troupe to perform in Hong Kong. Press reports described the performance as “an astonishing feat” and “mesmerising”, and even boasted that “no one could refrain from praise after seeing it”, and it is worth noting that the performance was deliberately timed to coincide with the screening of the Hollywood Party (1934). [19]
The presentation of musical films also began to incorporate foreign elements. Released in 1935, Opera Stars and Song Girls (aka Dancing Girl) is a good example. The plot is based on the story of a stage star, played by Tse Sing-nung, who has to resort to shining shoes on the street due to unemployment to make ends meet and care for her sick mother and sister. However, with his beautiful voice, he makes plenty of money and gains recognition from the troupe’s leader, who invites him to perform with the then-famous singer Chan Suet Heung in the musical Wedding. Furthermore, in this “play within a play”, a new American Broadway-style musical is adopted, with dancers from Guangzhou and Hong Kong playing female court attendants dressed in western costumes with Cantonese opera butterfly helmets, while Tse Sing-nung is dressed as a Western Prince Charming. On 4th March 1935, Opera Stars and Song Girls was previewed in King’s Theatre [20]. At the time, the press described it as “a masterfully directed film with more advanced lighting and sound settings than the company’s previous productions” and “an alternative approach to music”, and it was rated as “highly appreciated by the audience”, with a strong message behind, it showed the stars and the girl singers being faithfully committed to fulfilling their theatre mission despite their plight [21]. It is no wonder that a month after its release, it was still “packed with audiences” and “the seats are well-taken”. [22]
The women in the film are dressed in a way that breaks the mould of tradition, getting into the western culture and breaking free. For example, the special issue promoting Stage Romance, described the film: “three-month filming, a budget of $50,000, ten performances and two hundred beautiful women”. As seen from the film stills, the film had a huge cast. Whether it be the dance poses, positions, or costumes, they were all very similar to a Hollywood production. In the film issue, apart from film stills, there are also illustrations, which are able to capture the characters’ very likeness, depicting the three Fo brothers in Indian costume, heads wrapped in white cloth, half-naked, while Lam Oi Ling is depicted as a sexy woman wearing a veil in a graceful pose. (See Figure 4) The music scores of the songs in the film are also shown in the special issue.
Eighth Heaven, released in 1939 and starring Tong Suet-hing and Sit Kok-sin, was the highest box office hit of the year in Hong Kong [23]. It describes the anecdotes of the heroine, a Cantonese opera star, about choosing her husband [24]. In the film, songs are arranged to align with the plot. As if by chance, the film was released on Christmas Day, which the newspapers described as “a great silver gift” [25]. In terms of promotion, it is a musical set at one of the most important western festivals—Christmas, thus western elements are incorporated in it. As seen in the film still, the heroine, Tong Suet-hing, is dressed in a western costume, and her attendants are also dressed in similar costumes, with Tong in the centre as if she were in a cluster of flowers (See Figure 5). Their look and stage poses are fairly similar to western musicals; that being said, apart from imitating the west, the film still managed to maintain the oriental style. As seen in the film stills, the male and female characters, Tong Suet-hing and Sit Kok-sin, would wear Cantonese opera costumes and sing Cantonese songs in certain scenes.
To conclude, the origins and development of the Hong Kong musicals of the 1930s were closely linked to women’s circumstances, from being oppressed to rising to the stage. Through singing and dancing, they revealed the social and personal conditions they faced and then later were able to break the traditional image of women and gradually become more open and westernised. In terms of the film’s tone, the musicals in the 1930s still retained their Chinese characteristics and did not “go out of tune”. From the 1940s onwards, musical films continued to flourish. The film shot in Hong Kong starring Zhou Xuan was a colour musical film, Rainbow As You Wish (1953, Hsin Hwa), and is said to be the first Chinese musical film in colour. Hsin Hwa Motion Picture Company was also famous for its musical films, such as The Red Lotus (1960), starring Jeanette Lin Cui from MP & GI. The film was shot in Taiwan and Japan, shooting special underwater effects in Japan with the participation of Japanese singers and dancers. Besides, other female stars such as Grace Chang and Jeanette Lin Cui received much attention thanks to their talents, creating a craze for a while. After the birth of the MP & GI and Shaw Bros, the characteristics of musicals were further pushed to the top, allowing the film genre, both exotic and reflective of Chinese culture, to thrive both locally and overseas.
Lau, L. (劉瀾昌). (2018). Zai heshui jingshui xuanwo zhi zhong: Yiguoliangzhi xia de xinwen shengtai (In the swirl of river and well: The ecology of Hong Kong journalism under the “One country, Two systems”, 在河水井水漩渦之中：一國兩制下的香港新聞生態) (Rev. Ed.). Taiwan: Showwe Information, 165 (in Chinese).
Zhang, W. (張偉). (2009). Tanying xiaoji – Zhongguo xiandai yingtan de chenfeng yiyu (The dusty corner of contemporary Chinese cinema, 談影小集——中國現代影壇的塵封一隅). Taiwan: Showwe Information, 151 (in Chinese).
Yeung, K. (楊國雄). (2014). Old publications: Window of the past Hong Kong society (舊書刊中的香港身世). Hong Kong: Joint Publishing (Hong Kong) Company Limited, 75 (in Chinese).
Ibid.
See note 3.
Shao, Y. (邵雍). (2006). Zhongguo jindai jinu shi (Contemporary history of Chinese prostitute, 中國近代妓女史). Shanghai: Shanghai People’s Publishing House, 313 (in Chinese).
Wong, S. (黃淑嫻) & Kwok, C. (郭靜寧) (Eds.). (2020). Hong Kong filmography Vol I (1914–1941) (Rev. Ed.). Hong Kong: Hong Kong Film Archive, 295 (in Chinese).
Shi, D. (史東〉. (1938, December 10). Mantan nanyue gewuban zhong sanchuyan (Something about the three youngsters in Nanyue song-and-dance class, 漫談南粵歌舞班中三雛燕). South China, (南粵) (8) (in Chinese).
Ibid.
A Mysterious Night Special Issue, 1937 (in Chinese).
See note 7, p. 157.
See note 10.
Ibid.
Ibid.
(1933, June 20). Lianhua gewutuan shying chunhua (Lotus song-and-dance troupe shooting pornography, 蓮花歌舞團 攝影春畫. The Tien Kwong Morning News (in Chinese).
(1935, April 5). Gaosheng yan Meihua gewutuan (Plum Flower Dance Troupe in Ko Shing Theatre, 高陞演梅花歌舞團. Chinese Mail (in Chinese).
(1933, June 21). Haolaiwu gewutuan youlaile (Hollywood song-and-dance troupe coming again, 荷里活歌舞團又來了). The Industrial & Commercial Daily Press (in Chinese).
Zhongyangyuan xuyan gewutuan (Central Theatre continued to have song-and-dance show, 中央院續演歌舞團), Chinese Mail, 7 April, 1936 (in Chinese).
Ibid.
Hongling genu chengji chaojue (Outstanding achievement of Opera Stars and Song Girls, 紅伶歌女成績超絕), The Industrial & Commercial Daily Press, 5 March 1935 (in Chinese).
Ibid.
Dongle rengying Hongling genu (Prince’s Theatre still showing Opera Stars and Song Girls, 東樂仍映紅伶歌女), The Industrial & Commercial Daily Press, 2 April 1935 (in Chinese).
Wei, J. (魏君子). (2019). Guangying le de langhuar: Xianggang dianying mailuo huiyi (Spray in the light and shadow: The retrospective of Hong Kong cinema, 光影裡的浪花：香港電影脈絡回憶). Hong Kong: Chung Hwa Book Company (Hong Kong) Limited, 50 (in Chinese).
Niyi fengguang de dibatiantang (The beautiful scenery of Eighth Heaven, 旎旖風光的第八天堂), South China (南粵) no 8, 10 December, 1938 (in Chinese).
Ibid.