Raise the Red lanterns film review

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,

Some topics in this essay:
Meeshan SonglianÆs, Zhang Vamou, Yan Songlians, red lanterns, Lanterns Chinese, film techniques, lanterns lit, throughout movie, , significance red lanterns, red lanterns lit, third mistress meeshan, beginning film, mistress mistress, songlianÆs solitude, mistress mistress zhaiyun, powerful figure, mistress meeshan, mistress zhaiyun,