Han Ziyun’s Dream
Starting with a prologue, the 1892 Chinese novel The Sing-song Girls of Shanghai begins with a prologue. Written by Han Bangqing, it tells the story from his perspective. Through the prologue, Han offers the reader a glimpse into his dream. He tells it in the third person. He describes the sensation of entering a dream with the body unsteady and uncertain. Like mist spreading before clouds, he found himself in a strange place surrounded by an endless sea of flowers.
Han’s story has the dreamlike atmosphere Hou Hsiao-hsien captured in Flowers of Shanghai. The Chinese character Shanghai translates to “in the sea,” while the word “flower” refers to the prostitute her life becomes the central theme of the narrative. The film adaptation is an unparalleled cinematic experience. It rejects set variations, traditional narrative patterns, and unique character arcs. Instead, the film takes a limited third-person narrative point of view. Thus, it makes it difficult for the audience to understand the consequences and its meaning.
Visually, the film’s distinctive narrative style and spectacular mise en scène have attracted much scholarly attention to its aesthetic presentation. According to Gary Xu, the camera itself takes a pseudo-role in the film. It is most visible during the dinner scene. Through its purposeful movements, the camera acts as both an observer and a reminder of the visual limits. In the image, it highlights the spatial existence.
However, the camera’s limitations go beyond what it can see. Additionally, it limits the audience’s ability to follow much of the narrative and plot evolution. Unlike Hollywood films which typically provide in-depth insight into key events, Hou takes a more indirect approach. He uses oblique allusions rather than overt exposition. While hiding the other events, It reveals the events.
According to Nicholas Kaldis, the narrative technique challenges China’s one-way transnational commodification for Western consumption by acting as an artistic intervention. While eliminating conventional narrative components, Hou subverts clichéd depictions of China in Western media by flooding the audience with visual richness.
The Revitalization of The Sing-Song Girls of Shanghai
In addition to being one of the most famous works of nineteenth-century Chinese literature, Flowers of Shanghai positions itself as a prime example of the late Qing Dynasty courtesan novel. Vividly, it depicts the life of a thriving demimonde in a semi-colonial port city. Thanks to the film, The Sing-Song Girls of Shanghai regained attention; it also highlights the book’s enduring reputation. Historically, it has been defended more by academics, writers, and artists than by popular readers.
Renowned author Eileen Chang was instrumental in ensuring the novel’s legacy would endure. From the original Wu dialect, she translated it into Mandarin and began translating it into English until she died in 1995. The prolong was removed from the English edition, updated, and released in 2005 by Eva Hung. Above, Jacob Wong’s translation is given. The first time, Hou read the book through Chang’s Mandarin translation—forming the basis for the film adaptation.
Flowers of Shanghai was adapted from an original screenplay by Chu Tʽien-wen, Hou’s longtime screenwriter and colleague. In particular, Chu (a famous writer of modern Chinese literature) lists Chang among his influences. Distinguishing herself from previous works rooted in Taiwanese culture and history, the film bears witness to a literary sensibility that has long influenced Hou’s filmmaking.
Hou’s films are highly regarded. Starting with The Boys from Fengkuei in 1983 displays his early cinematic perspective. Influenced by the Taiwanese cultural environment, the films created the New Taiwan Cinema movement as Hou’s career skyrocketed. Internationally recognized, he is one of the main members. Through the director’s acclaimed Taiwan Trilogy, the local viewpoint continues to expand exploring the island’s history from Japanese colonial rule to the martial law imposed by the Kuomintang dictatorship following the Chinese Civil War.
For inspiration, Hou always returns to classical literary sources. His sporadic adventures in modern stories are set abroad (such as The Assassin). Continuously, Hou’s preoccupation with the relationship between cinema, history, and literature is demonstrated by the film; it takes audiences back to the Tang dynasty while matching the exploration of historical and literary themes of Flowers of Shanghai.
Core Themes
The visual beauty of Flowers of Shanghai is truly enchanting. However, it is not the main focus of the film. Hou claims the central themes center on money and romance. In wealthy circles, it occurs within a complex social dynamic in which men seek long-term relationships beyond marriage in addition to physical pleasure. Contrary to the transactional nature of their partnership, true closeness thrives within the walls of the Shanghai “flower house”—a financial contract.
To free the prostitutes, the wealthy clients had to pay large sums of money out of their contractual obligations to form long-term relationships with their lovers. Oftentimes, it causes problems with customs surrounding marriage. Due to the hierarchical structure of society, first wives had priority over prostitutes. Relegated to the status of second wife, it was a compromise perhaps not always agreed to by the flower girls.
The important dialogue is something overlooked in discussions of Flowers of Shanghai. It includes timing, structure, delivery, and unmentioned connotations. In the film, the dynamics of the narrative are shaped by the historical background of late Qing Shanghai society as well as Hou’s cinematic aesthetic. Between the characters, the film increasingly reveals a complex web of relationships and desires through well-choreographed banter and exchanges.
A microcosm of the interaction can be found in the film’s opening banquet scene. When the prostitute and the client chat about interesting interests and secrets, the deft narrative device demonstrated by the subplot seems inconsequential. It features Yu Fu and Crystal. At first, the relationship is described as central. Eventually, it fades into the background and reveals the film’s complicated storytelling techniques.
With long takes and minimal camera movement, Hou’s signature approach transports viewers into the world of a flower house—a place of gossip, deals, and personal tragedy. The environment has aesthetic appeal. However, it also conveys feelings of isolation and confinement. Bounded by social norms, obligations, and hierarchy, it signifies the “golden cage” that characterizes the lives of prostitutes.
Specifically, critics accused Flowers of Shanghai of prioritizing style over content. However, the critics overlooked the mutual relationship between the film’s aesthetics and thematic complexity. One of the most satisfying films in cinema offers an in-depth analysis of love, desire, and social boundaries against a stunning visual backdrop—thanks to impeccable craftsmanship and sophisticated storytelling.
Dynamic Camera Movement and Constricted Mise-en-Scène
In Flowers of Shanghai, dynamic camera movements offset the order and cohesiveness of the mise-en-scène. Apart from moving between four different flower houses, the entire film takes place inside. Each represents a different “pocket” of prostitutes and acts as the center of a network of interconnected storylines. Built specifically in Taiwan, the film was forced to be shot in a studio. Despite the original script requiring outdoor scenes to be shot in Shanghai, it was because mainland officials refused to grant permission. Coupled with the presence of a renowned ensemble, such limitations differentiate the film from Hou’s usual filmmaking style. One of the main reasons why Hou stands as one of the best directors in the world is his use of actual settings, simple performances by amateur actors, accurate framing of large spaces, and wide perspective contrasting historical changes with the details of everyday life.
Charmingly, the qualities of Flowers of Shanghai are most apparent at certain points in the Taiwan Trilogy. The linear flow of the story gives way to a more erratic and discontinuous temporal rhythm. Another distinguishing feature of Hou’s work is the recurring theme of group dinners; it provides subtle insights into interpersonal dynamics and societal dynamics. Recently, Takeshi Kitano observed that Hou had an unrivaled talent for capturing the act of eating on film. He uses it as a means to explore the intricacies of social interaction and human behavior.
Like his colleagues in the New Wave movement, Hou followed the principle of “show, don’t tell.” Naturally, it lets long scenes develop and shows small details, gestures, and facial expressions have deep meaning. The method is shown in the opening scene of the film; it shows men and their prostitutes playing a game of chance while sipping tea. It also reveals the power dynamics and hierarchies underlying the world of entertainment. Michelle Reis, Michiko Hada, and Hsuan Fang play various “flowers.” Everyone is portrayed skillfully. In the face of fierce competition, the depiction highlights the adaptability and resilience of women in their environment; they secure a path to independence outside their luxurious enclosure. Often, it is essential for their survival.
Architectural Dynamics
Similarly, outside noise interrupts the dinner party in Flowers of Shanghai. It causes the protagonist to leave the table and move towards an open window on the back wall facing the open staircase in the center. Smoothly, their movements were captured by the camera. It creates an aesthetic scene highlighting the intricate architecture of the flower house—a place painstakingly created for connection and seclusion. Within the location, the players inhabit different depth planes. Their shadows are framed by windows and doors, and their frames nest and multiply in a maze of frames.
Controlledly, the interior remains impenetrable to the outside world; the narrative perspective does not change despite the visual spectacle created by the interruption. Visibly, the enthusiastic reaction of visitors did not match the source of the disturbance, namely the game playing in the alley behind the house. Such disturbances highlight the exclusive nature of the privileged environment and the internal drama rather than providing a glimpse of life outside the flower house.
In an exclusive society where marriages are arranged and not based on love, the milieu provides an elite environment for the pursuit of passionate romance. Operating under its unique rhythm, the flower house adheres to complex standards of behavior, etiquette, and communication—as demonstrated by the fluctuating fortunes of the courtesans.
The tale unites the melodrama of love and adultery diminished by the nascent passion of the young lovers, including Jade and Master Zhu. On the other hand, Emerald’s strong relationship with her sponsor, Master Luo—exemplifies the natural harmony resulting from a long-term alliance. The relationships between courtesans, housemaids, and owners (referred to as “aunties”) within flower houses, reflect familial dynamics. It is characterized by care and exploitation, imitating the hierarchy of the Chinese kinship system in great detail.
Like an older sister, Pearl takes a protective role for Jade. She helped negotiate her release from her career. On the other hand, Emerald represents the intricacies of power dynamics and interpersonal relationships within the flower house; it reinforces the harsh treatment meted out by aunts towards young women.
Influence on the Film
Apart from being more than just a depiction of fin de siècle Shanghai, the film is a representation of Eileen Chang’s understanding of late Qing Shanghai society. As revealed in her Chinese translation of the late Qing’s book, Chang’s literary dominance in Taiwan after 1949 influenced the development of Hou and Chu’s intellectual milieu. A glimpse of Chang’s vast literary world can be found in Flowers of Shanghai, in which Hou plays a spectator role similar to the enigmatic but ever-present Master Hong; he appears in various scenes.
Master Hong acted as an intermediary and negotiator; he helped the women in the flower house carry out transactions with each other. His enigmatic comments, such as “I can’t guarantee anything, but it will probably work out,” lead to important exchanges, such as Master Wang’s farewell visit to Crimson and Shuren and Jade’s reconciliation. Additionally, he directs the parties at four of the dinner parties in the film. Skillfully, he guides the discussion and preserves the brothel environment.
The scene shows Emerald’s cunning negotiations for her freedom. With great difficulty, she counted the jewelry and clothes she owned. It is one of the most charming scenes in the film. The scenes show the Emerald path, alluded to at the beginning of the film when sunlight breaks through the walls of the flower house for a moment. It signifies an outside presence amidst the beautiful mist.
At its heart, Flowers of Shanghai is a painstakingly constructed drama. It shows Hou’s directorial skills. Visually, it is stunning and intricately written. The historical context of the film reflects current issues of hierarchy, power, and competition; it makes him an interesting study of human dynamics. The film is a visually stunning and informative adaptation that is interesting to watch many times, providing a fresh perspective on every viewing or reading.
Bibliograhy
- Berry, C., & Lu, F. (2005). Island on the Edge: Taiwan New Cinema and After. Hong Kong University Press.
- Hou, H. H., Zhu, T., & Berry, M. (2003). Words and Images: A Conversation with Hou Hsiao-hsien and Chu T’ien-wen. positions: east asia cultures critique, 11(3), 675-716.
- Ma, J. (2010). Melancholy drift: Marking time in Chinese cinema (Vol. 1). Hong Kong University Press.
- Ma, A. (2015). Killer Technique. Film Comment Magazine.
- Rojas, C. (2001). Specular Failure and Spectral Returns in Two Films with Maggie Cheung (and One without). Senses of Cinema.
- Rouch, J. (2024). What is Said and Left Unsaid in Hou Hsiao-hsien’s Flowers of Shanghai. Future.
