In the 1991 docudrama “Center Stage,” despite limited archival film resources, Hong Kong director Stanley Kwan fashioned a fascinating biographical analysis of Ruan Ling Yu, the legendary silent film star who committed suicide with barbiturates at 24 years of age in 1935. Celebrated for her expressive on-screen presence in the early 1930s, born Ruan Feng-gen in 1910 Shanghai, Ruan’s acting fame invited intense media scrutiny of her personal life with “obscene tabloid reporters” blamed for her death. Originally titled “Ruan Ling Yu” (Ruan’s professional name), “Center Stage” was also previously known as “Actress.” Now, on the occasion of its 35 year anniversary, a beautiful 4K restoration will screen at Webster University the August 14 weekend.
Adding to brief archival clips that illustrate Ruan’s unique, dynamic appeal, Kwan inventively reenacts various scenes with the formidable Maggie Cheung as Ruan. In the opening minutes, after several photographs of Ruan, Cheung remarks that she indeed does resemble her. Following on-screen setups for and inclusion of existing 1930s scenes, Kwan segues smoothly into reenactments with Cheung effecting an uncanny immediacy through identical performances enhanced with replicated, historically authentic art direction. One of Ruan’s favorite expressions is described as “looking up to the heavens in forlorn wordlessness,” a powerful affectation illustrated in several extraordinary screen moments of both Ruan and Cheung.
Known also by her English name Lily Yuen, her birth name was Yu-Ying, her nickname Feng-Keng. Beginning acting at 16, Ruan knew she played the bad girl to perfection, but wanted to expand her roles, including playing a laborer, a prostitute, and more progressive roles, which she did. Her 1934 “The Goddess” ranks among the greatest silent Chinese films and, quite possibly, all silent cinema. Dubbed China’s “Greta Garbo,” Kwan’s “Center Stage” adds her imitations of Marlene Dietrich. Both Garbo and Dietrich would applaud the comparison.
But Ruan’s personal life did not match her professional success as, for years, she unsuccessfully navigated a conflicted love life, vulturous reporters ever on the hunt. A law suit and money demands from her husband, another fraught love relationship, playing the role of actress Ai Xia who also committed suicide, and hostile reporters: all contributed to her death. One of the notes believed to be written by Ruan read, in part, “gossip is a fearful thing.” The great Chinese poet Lu Xun used that phrase in his denunciation of the press’ extensive, intrusive abuse. Ruan’s three day funeral with its three mile procession also made headlines, reported by “The New York Times” as “the most spectacular funeral of the century,” three times larger than Rudolph Valentino’s 1926 funeral.
Exploring all this, Kwan interweaves archival footage, reenactments, interaction between Kwan, Cheung, and co-star Carina Lau, with other contemporary interviews including one with Lily Li, the accomplished 1930 actress/singer who joyfully brags of teaching Ruan proficient Mandarin. The imaginative, masterful blending of these threads creates an historical, poignant profile of an exceptionally talented woman caught in a destructive personal and professional vortex. Not incidentally, despite societal changes in several areas, the journalistic obsession with stars powerfully resonates. This star of 1930s China continues to speak to today’s milieu. In Cantonese, Mandarin, Shanghainese, and English with English subtitles, the 4K restoration of “Center Stage” screens at Webster University’s Winifred Moore auditorium Friday, August 14, through Sunday, August 16, at 7:30 p.m. each of those evenings. For more information: Webster.edu/filmseries