A City of Sadness

One of the restrictions implemented at the time was the ban of cigarette trading. The immediate story begins in the front of a tea house in Taipei the day before, on February 27, 1947, when agents from the Tobacco Monopoly Bureau confiscated a Taiwanese female cigarette vendor's illegal cigarettes as well as her money, and then beat her over the head with a pistol while attempting to arrest her. An angry crowd swarmed the agents, prompting one official to open fire on the crowd, killing a bystander. The news triggered mass protests the following morning on February 28; more people were killed by the police and it quickly turned into a large-scale riot.[5] While many local Taiwanese took this as an opportunity to seek revenge on mainlanders, Governor Chen Yi issued martial law and requested Nationalist troops to be sent over from mainland to suppress the incident. For the following 38 years, Taiwan was placed under martial law in a period that is now known as the "White Terror" period. Consequently, a generation of Taiwanese local elites were arrested and killed. It was estimated that between 10,000 and 20,000 people died as a result of the 2/28 incident, with more and more people dying or going missing during the White Terror. The trauma of 2/28 haunted Taiwan's politics and society and soured the relationship between the Taiwanese and mainlanders for several decades.[4]

By the 1980s, the New Taiwanese Cinema movement was moving towards not just creating films for the people of Taiwan, but also for a larger, international audience. Directors Hou Hsiao-hsien and Edward Yang noted that they wanted to emulate the popularity of Hong Kong cinema, which revolved around high quality productions with strong star power to back it up.[3] In A City of Sadness, Hou relied primarily on foreign investment, particularly from Japan. Japanese technology, techniques, and facilities were used in the post-production and resulted in what critic and producer Zhan Hongzhi described as an aspect of "high-quality" that could draw in international viewership.[3] Another aspect of this plan was star power, reflected in one of the principal characters, Wen-ching, being played by then rising Hong Kong film star Tony Leung.[3] The intention behind this was to increase Hong Kong and Overseas Chinese viewership. The film also used an array of different languages, chiefly Taiwanese Hokkien, Cantonese, Japanese, and Shanghainese as a way to promote the cultural diversity of the cast and reflectively, of Taiwan to a global audience, which stands in contrast to many earlier films being only in Mandarin Chinese, due to the governments promotion of Mandarin as the national language.[3]

Hou Hsiao-hsien was interested in creating a film that could tell a story about a family, specifically during the 228 Incident and the White Terror by a few reasons. He cited how the death of Chiang Ching-kuo in 1988 and the lifting of martial law the year prior made it an appropriate time to address the 228 Incident, which Hou felt had been covered up by the government. He noted how books were not available on the subject and he wanted to provide a vantage point about the story through the lens of a family.[8]

Hou Hsiao-hsien wrote:

"Everybody knew about the 228 Incident. Nobody would say anything, at least in public, but behind closed doors everyone was talking about it, especially in the Tangwai Movement [..] The 228 Incident was already known, so I was more interested in filming a time of transition, and the changes in a family during a change in regime. This was the main thing I wanted to capture… There's been too much political intervention. We should go back to history itself for a comprehensive reflection, but politicians like to use this tragedy as an ATM, making a withdrawal from it whenever they want. It's awful. So no matter what point of view I took with the film, people would still criticize it. I was filming events that were still taboo, I had a point of view, and no matter what, I was filming from the point of view of people and a family… Of course it's limited by the filmmaker's vision and attitude. I can only present a part of the atmosphere of the time."[8]

According to scriptwriter Chu Tien-Wen's book, the original premise of the film was the reunion of an ex-gangster (which Hou Hsiao-Hsien intended to cast Chow Yun-fat for the role) and his former lover (supposedly played by Yang Li-Hua, the top Taiwanese Opera actress in real-life) in 1970s. Hou and Chu then extended the story to involve substantial flashbacks of the calamity of the woman's family in late 1940s (where the woman was the teenage daughter of Chen Song-Yong's character). They then abandoned the former premise and instead focused on the 1940s' story.

The movie includes many Chinese dialects, such as Southern Min, Cantonese and Shanghainese, which make this film pellucid for different groups of people. Ming-Yeh T. Rawnsley explains that "by representing the political reality of the late 1940s indirectly, A City of Sadness deals with the past, but is not trapped by the past, and is able to achieve a sense of objectiveness and authenticity."[4] The use of dialects and historical facts can make audiences have a connection to characters within the film, and ensure the objectiveness and authenticity. The film also functions as a form of resistance as those with less power are able to diminish claims by other classes.

Wen-ching's deafness and muteness began as an expedient way to disguise Tony Leung's inability to speak Taiwanese (or Japanese—the language taught in Taiwan's schools during the 51-year Japanese rule), but wound up being an effective means to demonstrate the brutal insensitivity of Chen Yi's ROC administration.[9] As he communicated through other means (photographs, pen and paper) he is often playing the role of an observer. His inability to speak could mirror Taiwan being silenced by its oppressors.

Sound plays an important role in the film as the opening scene is shot in darkness, with the only sound being Emperor Hirohito on the radio broadcast. Throughout the film, the use of Japanese language is cultural, as it represents the experiences of the Taiwanese and their cultural identity. Most of the characters would not be able to understand much Japanese as they would not have lived through 51 years of Japanese rule. This is why the native characters speak Taiwanese with some Japanese words mixed into their speech.[10]

A City of Sadness was a major commercial success in Taiwan, but critics were largely ambivalent toward the work. Having been advertised as a film about the February 28 Incident but never explicitly depicting the event, the film was consequently criticized as politically ambiguous, as well as overly difficult to follow.[11] It was also criticized for not depicting the events of February 28 well, instead presenting the events in a subtle and elliptical manner.[12] It is now widely considered a masterpiece,[13] and has been described as "probably the most significant film to have emerged out of Taiwan's New Cinema."[11]

Richard Brody of The New Yorker argued, "Hou's extraordinarily controlled and well-constructed long takes blend revelation and opacity; his favorite trope is to shoot through doorways, as if straining to capture the action over impassable spans of time."[14] In Time Out, Tony Rayns wrote, "Loaded with detail and elliptically structured to let viewers make their own connections, [...] Hou turns in a masterpiece of small gestures and massive resonance; once you surrender to its spell, the obscurities vanish."[15] Jonathan Rosenbaum lauded Hou as "a master of long takes and complex framing, with a great talent for passionate (though elliptical and distanced) storytelling."[16] In the Chicago Tribune, Dave Kehr declared, "A City of Sadness is a great film, one that will be watched as long as there are people who care about the movies as an art."[17]

The review aggregator website Rotten Tomatoes reported that 100% of critics have given the film a positive review based on 13 reviews, with an average rating of 9.30/10.[18] In the British Film Institute's 2012 Sight & Sound poll, 14 critics and two directors named A City of Sadness one of the ten greatest films ever made, placing it at #117 in the critics' poll and #322 in the directors' poll.[19]

Critics have noted how this film (as well as the other 2 films that form the trilogy) started a larger discussion into memory and reconciliation for the 228 Incident and the White Terror on Taiwan. Sylvia Lin commented that "literary, scholarly, historical, personal, and cinematic accounts of the past have mushroomed, as the people in Taiwan feel the urgent need to remember, reconstruct, and rewrite that part of their history.”[20] June Yip noted that the Taiwan Trilogy marked a “autobiographical impulse” to reclaim the history that was now acceptable with the lifting of martial law.[21] Another critic, Jean Ma, also noted the method of displaying trauma by Hou felt "real" and could connect to global audiences everywhere from the "Truth and Reconciliation Commission of South Africa, the desaparecidos of Argentina, and the Armenian massacre as instances in which memory bears the ethical burden of a disavowed or denied history."[21]

A City Of Sadness has been touted as one of the few films to bring Taiwanese Hokkien to prominence and to a global audience. The usage of Taiwanese Hokkien in the film has been noted to be in direct conflict with the then-rule regarding national language in Taiwan. The Taiwanese language policy about promoting Mandarin made making films in other minority dialects and languages limited to only a third of the total script. A City of Sadness however, was filmed mostly in Taiwanese Hokkien. Hou Hsiao-hsien's film was allowed by the Government Information Office (the office responsible for government censorship/media) to send a copy of the rough cut to Japan for post-production where it was processed and sent directly to the Venice Film Festival without being authenticated by Taiwanese censors from the GIC.[22] The winning of the Golden Lion and Golden Horse Awards marked a first for Chinese-speaking films, but also were controversial, since A City of Sadness violated then rules about national language usage in films. The success of the film however, renewed interest in Taiwanese Hokkien and became part of the Taiyu Language Movement and started a resurgence of films from Taiwan that utilized minority languages such as Hakka alongside other Taiwanese indigenous languages.

The term "City Of Sadness" has been used to describe the state of Hong Kong after the 2014 Umbrella Movement by scholars. Academic Tina L. Rochelle has associated the term with how Hong Kong's trajectory mirrors the trajectory of Taiwan during the 228 Incident and the White Terror.[23] Much like in the case of the 228 Incident, the Umbrella movement was fueled by building resentment of the way Hong Kong citizens were being treated after the 1997 handover of Hong Kong to the Peoples Republic of China. The cause of anger with citizens was the deterioration of freedoms and rights, the increased feeling of policing, and the imposition of a foreign power's sovereignty over a newly integrated location. This is a characteristic Rochelle highlights as similar in both Taiwan and Hong Kong and is what makes Hong Kong a "modern City of Sadness."[23]