Taiwan Today

Those lovely Chinese girls were out in front as usual when awards were presented for 1971's top movies and performances at Asia's 17th festival in Taipei

Asian movies have their share of problems. They are threatened by television competition, rising costs and changing tastes. Everything has gone wide screen and color. No exhibitor wants to show the cheaply made black and white features of yesteryear. The sex and violence of Western cinema are frowned upon by Asian censors.

Nevertheless, Asian movie enthusiasm was intense and the films themselves were "better than ever" as the seventeenth Asian Film Festival was convened in June 5 to 9. Stars, executives and technicians came from throughout the Asian region. More than 10,000 fans gathered for a presentation of the national delegations and a program of songs and dances.

This may have been the last competitive Asian Film Festival. Next year's Festival at will include showings of major feature and documentary films but on a noncompetitive basis. Members of the Federation of Motion Picture Producers in agreed that comparison is difficult and sometimes inequitable. They concluded that the competitive stage had outlived its usefulness after helping to build a strong industry.

Interest in the 1971 competitions still ran high, however. When Golden Harvest trophies were presented the evening of June 9, was the surprise winner of the best feature award with "The Tragedy."

The Indonesians have revived their film industry, step­ped up output and are making outstanding pictures.

's Nam Kung Won was chosen the best actor for his performance in "War and the Human Being." The Republic of China won the best actress award for the second year in a row with Cheng Cheng's playing of the starring role in "The Story of Ti Ying." Kuei Ya-lei was the 1970 winner in "Home Sweet Home." Honors as best supporting actress went to Lee Hsiang of for "Life With Mother." Top supporting actor was Bak No Shik of Korea in "War and the Human Being," a film which also won laurels for its director (Shin Sang Ok), screenplay (Kwak Il Ko), color photography (Choi Sung Woc), sound recording (Yoo Chang Kook) and editing (Oh Sung Whan).

Other awards in the feature film category were for black and white photography (Tran Van Lich of , "Miss Cam Van"); music (Lee Bong Joe of Korea, "The Classroom of Love"); and art direction (Liang Yan-shin of , "The Story of Ti Ying").

Silver Harvest awards included: , for ";" planning, for "This Is the Beginning;" color photography, for " of the Orient;" black and white photography, for "This Is the Beginning."

Special awards were for service to Asian culture, China for "The Story of Ti Ying;" theme, Vietnam for "Warrior, Who Are You?"; social education, China for "The Ammunition Hunters;" child actor, Kim Hec Ka of Korea in "The Last Prince;" child actress, Nanya of Indonesia in "The Tragedy of Njai Dasima," artistic expression, Vietnam for "The Purple Hori­zon;" reporting, China for "The 25th Anniversary of Taiwan's Retiocession;" promising actor, Farouk Mero of Indonesia in "The Road of No Return;" promising actress, Lenny Martina of Indonesia in "Ananda;" in­ternational understanding, Singapore for "Singapore -­ Island City," most popular actor, Sophan Sophian of Indonesia; most popular actress, Kieu Chinh of Viet­nam; screenplay, Usmar Ismail of Indonesia for "Ananda."

In his message to the 17th Festival, President Chiang Kai-shek said: "Good films not only have the function of communicating but also of providing spirit­ual enlightenment. Films can contribute much to the development and exchange of culture and help promote friendship between the people of different nations." The prize-winning Chinese films this year provided cases in point.

"The Story of Ti Ying," which won the best actress award for Miss Cheng, is a famous tale taught in the elementary schools of free and known to every Chinese adult. A daughter risks her life to save her father from false accusation in a moving example of filial piety.

The period is the early Han dynasty of more than 2,000 years ago. Shun Yi-I is a distinguished physician and good man. He is called to treat the son of a leading family and finds the young man has been taking poisonous pills prescribed by an alchemist. Using "poison to fight poison," Dr. Shun administers strong herbal preparations, not knowing the young man is still taking the quack's medicine., The son dies.

Instigated by the alchemist, the family accuses Dr. Shun of murderous malpractice and he is convicted. Try as she can, Ti, Ying is unable to persuade anyone of the truth of her father's story. Finally, in desperation, she stops the emperor's carriage, an offense carrying the death penalty, and tells him of the miscarriage of justice. Moved, he pardons her and Dr. Shun.

Miss Lee's supporting actress role in "Life With Mother" is, coincidentally, that of the parent of an 18-year-old daughter played by Miss Cheng. With husband in prison, the mother has made a life for her­self and taken care of the daughter. The girl is often left alone, however, and needs love and affection. She seeks fun and adventure and soon is caught up in a fast crowd.

Mother moralizes but without effect. The daughter regards her mother as money-seeking, unfair 'and cruel. Released from prison, the father comes home but at first only adds to the daughter's confusion. Finally, the father is able to convince the girl of her mother's deep love and bring the family back together.

"The Ammunition Hunters," recognized for social education, is laid in 1926 at the start of the National Government's March Northward to defeat the warlords and unify . Ammunition has been cached in the hills. Only Mrs. Kao, a tavern owner, and her two daughters know the location.

Seeking the ammunition arc the National forces, warlords, freebooters and the Kaos. Victory and the hoard go to the Kaos, but the family puts patriotism ahead of their own interest and turn the ammunition over to the National Government.

The series of Film Festivals has helped raise the quality of Asian motion pictures and has led to many cooperative arrangements among the producers of the Republics of China and , and Hongkong. Masaichi Nagata of , the president of the Federa­tion of Motion Picture Producers of Asia, provided the inspiration for the Festival movement. In 1953, he headed a group of Japanese film makers which visited a number of other Asian countries to stimulate interest in the idea.

A preparatory committee was organized at in November of 1953 with the participation of , , , , , and . The Federation of Southeast Asian Film Producers was set up with headquarters in .

dominated the first Film Festival at in May of 1954. The hosts won the awards for best film, director, actor and actress, music and recording. Three of four documentary trophies also went to the Japanese. Film making in other Asian lands has come a long way since then.

The second Festival was at in May of 1955. The won male acting, direction and scenario awards. topped actress and photography categories. was accepted as a member and and were observers.

Hongkong was host to the third Festival in June of 1956. Southeast Asia was dropped from the federa­tion name in favor of Asia because of 's location in . The annual meeting became the Asian' Film Festival. and the shared major awards. The Republic of China's documentary "'s Agriculture" won special honors. Best movie and scenario laurels went to Hongkong.

The fourth Festival was convened in in March of 1957. Supporting actor and actress awards were added with the Republic of China winning the former and Hongkong the latter.

was the scene and April the time of the fifth Festival in 1958. entered second-rate films. Hongkong took six of fifteen major honors, including best film, directing, actress, scenario, editing and music. The first child actress award went to Chang Hsiao-yen of 's Central Motion Picture Corporation.

The sixth Festival was held at in May of 1959. Chang Hsiao-yen again won child actress honors. Hongkong captured best feature, actress, black and white photography and music laurels.

The industry went back to in April 1960 for the seventh Festival. The Republic of China and shared the best child actress award. The Golden Harvest and Silver Harvest trophies became 's "Oscars."

Hongkong was host to the eighth Festival in March of 1961 and won honors for actress, editing, recording and art direction. Miss Lin Tai of Hongkong was named top actress for the third time. CMPC's Chen Yen-yen won the best supporting actress award.

The ninth Festival was held at in May of 1962. Hongkong's Lin Tai won actress kudos for the fourth time. The Republic of China's Tang Pao-yun was best supporting actress and Lo Wan-lin the best child actress.

took four awards, including that for the best film, at the tenth Festival at in April of 1963. won actor, actress and dramatic performance awards. The Republic of China had the best child actress and a documentary, "The Art of Chinese Painting," won the Johnson Prize.

The eleventh Festival came to in April of 1964. The participated as an observer. The film of the year was limited to that single award. CMPC's "Oyster Girl" was top film. Hongkong's Ivy Ling Po won the actress award. Hongkong's Wang Ying was best supporting actor and Lin T'sui the best supporting actress.

The twelfth Festival was at in May of 1965. The Republic of China won Golden Harvest statuettes for scenario, supporting actor, art direction and color photography. Hongkong had the best film of the year and won actress honors. applied for membership.

took actor and actress awards at in May of 1966. Hongkong had the best film and the Republic of China took honors for color photography, music, scenario and child actress. Miss Wang Mu-tsou won a special award for a dramatic performance.

The fourteenth Festival was held at in September of 1967. The Republic of China's Ke Chun-hsiung won actor honors for his role in "Lonely Seventeen" from CMPC. Other ROC awards were for art direction, editing, most promising actress and documentary planning. Hongkong had the best film. Only , , , the and Hongkong participated.

was the scene of the fifteenth Festival in June of 1969. The Republic of China had the best film and won for supporting actress, child actress, recording and documentary. Hongkong won a comedy award. The Republic of China started its annual Chi­nese Film Appreciation Week in , and to oppose Chinese Communist infiltration.

The sixteenth Festival went to for the first time in June of 1970. had the best film. The Republic of China won awards for direction, actress, supporting actress and scenario. Hongkong won direction and actor laurels.

Mrs. Nancy Yu Huang, published of the China Past and chief juror at the 17th Festival, said Indonesian movies are improving fast despite that country's lack of experience. There were five nominees for best picture: The Republic of China's "The Story of Ti Ying," 's "Warrior, Who Are You?", Hongkong's "Red Beard," 's "War and the Human Being" and 's "The Tragedy." The first bal­lot eliminated the and Hongkong entries. The second round put the Chinese entry out of the running. then won out over .

Over nearly two decades, several attempts have been made to downgrade the Asian Film Festival and even to call it off. None has succeeded. Asian films have improved and the Festival is at least partly responsible. Countries which are turning out films of international standard have tended to lose interest in the competition. A Golden Harvest award has, on the other hand, had the result of greatly encouraging those who were not so far long. has provided an example of this in the last two years.

How the Festival will go in the absence of com­petition remains to be seen. If the experiment is not a success, there will no doubt be a move to return to awards.