Taiwan Today

20th Film Festival draws the region's cinema leaders to Taipei for a gala program attesting to the great progress of acting and techniques

Asian movies are better than ever - at least in the eye of the beholders.

That was the affirmation of some 400 cinema personalities and workers who attended the 20th Asian Film Festival in Taipei last month. They came from Hongkong and nine countries that include some of the world's most prolific movie makers. Nine of these lands have television, yet all have managed to surmount that competition and emerge with solvent movie industries in good artistic health.

With all due respect to Japan, South Korea and Indonesia, which have outstanding movie-making capability, free China (including the studios of Hongkong as well as of Taiwan) is the heartland of the Asian film industry. The first Chinese feature film, ''The Orphan Who Saved His Grandfather," was made 52 years ago. Sound came to Chinese movies in 1931 with "Songstress Red Peony." Shanghai was the first capital of the Chinese film industry. The experience that was to give rise to Taiwan and Hongkong movie making was gained there.

Movies made great progress in Taiwan during the 1950s. Then, in 1962, came television. The small screen mesmerized a large share of the movie-going audience. Theater operators had several years of hard times. Many movie houses were compelled to close. As TV invaded the countryside, small marginal operators could no longer make ends meet. To make matters worse, one television station became two and then three. All-island networks were established and the programming was greatly improved.

By 1974, the number of movie theaters had shaken down to about 450. Other exhibitors in the farm belts are seasonal; they operate during the slack times in agriculture. Movie attendance was 206.6 million persons in 1973 for an average of nearly 4 million per week and well over 500,000 per day. That isn't bad, considering a population of less than 16 million and an estimated 1.5 million television sets.

Government gave the movie industry a shot in the arm in mid-1972 with lowering of the admission tax. The levy on foreign films was cut from 50 to 35 per cent, that on domestic films from 40 to 12 per cent. As of mid-1974, the moviegoer was paying about US$1 to see a foreign film and U$75 cents to see a feature made in Taiwan or Hongkong. Taipei, the capital of movie attendance as well as of film making, had a box office take of about US$10 million last year.

Chinese movies, a category which includes those made in Hongkong as well as Taiwan, were the tail of the local film kite until about a decade ago. They were shown at second-class theaters. Those in Amoy dialect (Taiwanese) went to the rural areas. Today's Chinese movies are screened at the best theaters. Dialect movies are dead, killed by television and the education of the young in Mandarin (Peiping dialect).

The industry got its first big boost with "Love Eterne" in the early 1960s. This musical film starring Ivy Ling Po in a female impersonation of a male told a Romeo and Juliet story from Chinese folklore. It broke box office records in Taiwan and did well in Hongkong, Singapore and Chinese overseas communities. Imitations lasted for a year or two, then gave way to realistic films in modern dress and finally to the wave of swordsman movies and the endless sequence of Kung Fu epics.

As the Chinese industry began to grow, the government imposed quotas on imports of foreign films. The 1954 quota of 444 imports had been reduced to 275 in 1974. This is presently divided into 164 American pictures, 66 European and the rest from South Korea, the Philippines and Brazil. Japan's quota of 25 is temporarily withheld.

Furthermore, many of the foreign films are those of past years. "R" rated movies have no chance of passing censorship. Many of the "PG" films are rejected as overly violent or suggestive. This has given the green light to Chinese movies and especially to the variations of the Kung Fu theme which have dominated Chinese film-making for the last several years. Taiwan has turned out 609 feature films in color during the last three years, and more than half (327) were Kung Fu displays of the martial arts.

The Kung Fu genre has won a big U.S. and European following since Run Run Shaw, the Hongkong movie magnate, persuaded Warner Bros. to back what Variety calls the "chopsocky" features starring the late Bruce Lee. No critical acclaim has come to Kung Fu, but the audiences have applauded (see the Free China Review for June of 1974). Movie critics have been predicting the imminent demise of Kung Fu for the last two or three years. Many of these films are so amateurish they can't get into a theater anywhere. The more believable presentations are making money and finding new foreign markets. Violence has been toned down and characterization and stronger story lines added. More imaginative studios think there is hope of making the Kung Fu a classic to compare with the American Western, which has died and been resurrected more often than all the red skins killed in celluloid epics during the last three quarters of a century.

The Government Information Office of the Republic of China began encouraging Chinese film-making with awards as far back as 1958. These kudos subsequently grew into the Chinese Film Festival. In 1964, Taipei played host to the Asian Film Festival for the first time. This was the 11th Festival of the series, and the Central Motion Picture Corporation's wide-screen color production of "Oyster Girl" won the "best picture of the year’s" award.

The Federation of Motion Picture Producers in Asia was established in 1954 and the first Festival was held in Tokyo. Members were the Republic of China, Hongkong, Indonesia, Japan, Malaya, the Philippines, Singapore and Thailand. Such countries as South Korea and the Khmer Republic joined subsequently. Malaya became Malaysia. Festivals have been held in Manila, Hongkong, Kuala Lumpur, Singapore, Kyoto and Bangkok as well as Tokyo and Taipei.

National differences and rivalries have often threatened to destroy the Asian association. Festivals have continued, however, and the 21st is scheduled for Jakarta next year. Awards of the "bests" were abolished three years ago but may be revived in one form or another by the Indonesians, who suggested that this is the heart of Hollywood's Academy Awards and that the Asian Festival would thrive on more competition.

President Chiang Kai-shek sent a message to the nearly 400 film personalities and workers who came from the host country, Hongkong, Indonesia, Japan, Khmer, South Korea, the Philippines, Singapore, Thailand and South Vietnam. The chief executive said:

"The Asian Film Festival has been held in a number of countries in their turn and has made significant contributions to the development of the movie industry and the advancement of cultural interflow. I wish to extend on behalf of the government and people of the Republic of China my warmest welcome to the distinguished guests gathered here for the opening of the 20th festival in Taipei. Movies are a principal medium of cultural communications and an embodiment of the arts and sciences. The underlying purpose of a film festival is to study and learn from one another's works so that the movie industry can attain the realm of truth, goodness and beauty. In presenting their best films for exhibition, the movie makers of Asia have the obvious intention of sharing their productions and their experiences. This is a worthwhile and respected goal.

"The movie industry can grow and prosper only in a free society. All of the delegations come from free countries. I am confident they will use motion pictures to present the reality to be found in free societies and express their aspirations for justice. This will provide encouragement and keep the flame of hope burning in the hearts of people who have lost their freedom.

"The continued development and unceasing progress of the free Asian movie industry reflect the prosperity and happiness of the region's democratic countries. The fruits of this prosperity should be enjoyed by all Asians. The participants in this Festival should demonstrate their wisdom by carrying out this vital mission."

Vice President Yen Chia-kan addressed the opening ceremonies. "I am happy to note that the free world movie industry has recorded remarkable achievements in its existence of some 70 years," he said. "The motion picture is a powerful medium for rejuvenating the spiritual life of mankind and for enriching the quality of human existence.

"This is recognized by people throughout the world. With the rapid development of scientific technology in the present era, the initial rivalry between the movies and television has been gradually replaced by technical cooperation and a harmonizing of interests."

Dr. Fredrick F. Chien, director-general of the Government Information Office, was master of ceremonies. He told the delegations from 10 Asian lands: "Cinematography was invented in Europe and developed in the United States. Films came to Asia much later, and I suppose we still lag behind the West. But we are catching up. We have no wish to take a back seat in any phase of film-making. We are determined to catch up with Europe and the United States. We shall produce more and better films not only for entertainment but also for education.

"The Asian Film Festival is no longer one of competition for awards. We are here to study and to learn, to profit from each other's triumphs and failures, and to increase international understanding as well as our command of the film-maker's art.

"Our purpose is the international flow of culture and the promotion of cooperation and harmony. Who is more likely to succeed than Asians who share a common cultural heritage? "

Award ceremonies were held the afternoon of Saturday, June 15, to conclude the five-day Festival. Without competition, it was a matter of the bigger the delegation, the larger the number of Pao Ting (Precious Tripod) trophies symbolizing honor, sanctity and solemnity. Everyone with an entry received something, which left only Singapore out of the running because Miss Fuziah Rashid, the delegate from that country, did not bring a nomination.

Twenty-one Pao Ting went to the Republic of China, 13 to South Korea and 11 to Indonesia. Each delegation was called upon to nominate its best film, best director, best actor, best actress and best screenplay of the year. The award ceremonies were televised throughout Taiwan and included many film clips of outstanding films and prize-winning performances. Actors and actresses of one country made the awards to the winners of a neighbor.

These were among the principal winners:

Republic of China - Five awards each to "Falling Snowflakes" and "Sergeant Hsiung." The first took story and music honors. The war picture was honored for its direction by Lee Chia and for the acting of actor Chin Han. Ivy Ling Po was chosen as the ROC's top actress for her performance in "My Father, My Husband, My Son."

Hongkong - "Crazy Bumpkins" brought Miss Ai Ti a Pao Ting as most promising actress, Yeh Feng an award as outstanding comedian and Lo Mar the honors for direction. Fu Sheng was honored as the colony's most promising actor for his performance in the Shaw Brothers' "Friends." Chan Kun-tai was chosen the most popular actor of the year. "Cheeky Little Angels" won an award for Shaw Brothers as an outstanding love story and expression of love in a comedy. Li Ching took "most inspired performance" honors for the same film.

Indonesia - The big winner for the country which will host the 1975 Festival was "Renungkanlah Si Mamad" starring Purnomo and Rina Hassim. Purnomo was cited for his outstanding acting and Sjuman Djaya for direction. The film was also singled out for its artistry and expression of human kindness. "The Chosen One" was praised for the performance of Nico Palamonia and for its depiction of local color.

Japan - Imagination paid off for the Japanese as they entered the lists against Hollywood and Europe with a disaster film, "The Submersion of Japan," with Ayumi Ishida and Keiju Kobayashi as stars. Awards were given this film for the most imaginative story, outstanding editing and special effects.

South Korea - "Daffodil" was the big Korean winner. Koh Eun Ah took plaudits for her acting and the film also won screen play honors for Shin Bong Seung and a special award for its expression of life. "Testimony" brought directing laurels to Kim Kon Tak and recognition for photography to Chun Cho Myung, plus a special award for expressing the spirit of freedom. An In Sook was chosen by photographers as the most photogenic actress attending the Festival.

Philippines - Joseph Estrada was named best actor for his performance in "Ransom," which also starred Helen Gamboa. The movie itself received a trophy for endorsement of law and order.

Thailand - Krung Srivilai was picked as best performer for his acting in "Gold," which was hailed as the most entertaining film of the Thai movie year.

South Vietnam - ''The Lonely Shadow" was singled out for the supporting performance of Thanh Nga and for dialogue by Hoang Dung. Tham Thuy Hang was given a special award as the year's most popular actress.

As they came forward to receive 76 Pao Ting, the film luminaries of Asia agreed that while the restoration of competition might be exciting, it was also pleasant to have a festival devoid of disappointments and with so many additions to the trophy case. Fifteen of the films entered by eight countries were shown at the New World Theater during the course of the Festival.

Visitors were feted at luncheons and dinners each day and saw Taipei points of scenic interest. Many of them stayed to travel down island for a day or two after the Festival's closing.

Press, radio and TV coverage was extensive. Articles and editorials discussed the state and future of the Asian film industry. The Shin Sheng Pao thought that the elimination of the competitive aspect had contributed to progress and unity.

"As movies are cultural enterprises for the expression of all categories of art," the paper said, "the standard of movies in Asian nations has been greatly raised. Some of the outstanding films can be favorably compared with American and European movies. We hope that all film producers will pay attention to the important social and educational significance while entertaining."

The China News had suggestions for improving the free Asian cinema output. This paper said editorially:

"Movie stars, director, producers, et al., are off and running in the annual sweepstakes of the Asian Film Festival. Some of the competitive aspects have been excised from the Festival. That is good in some ways and not so good in others. The awards may be unfair, and we know that in the past some were subject to rigging. But they did add to the glamour of the Festival, and what is movie making without tinsel?

"After 20 years, the Film Festival has simmered down to an opportunity to renew old acquaintances and talk over the state of the movie business. There is a lot to discuss. Film-making is not a dying art. Neither can it be said that movies are better than ever. The themes of violence and sex - now in that order - are bigger than ever. The language is as blue as the films. This is held up as realism. But is it? People neither talk nor act in life as they do in most of our movies. Some may say that is what the public wants. People do not go to a theater to see extensions of their own dreary lives. They want excitement and escape.

"The Chinese are not an especially violent people. Usually we duel with words rather than fists and sticks, Kung Fu to the contrary. Maybe that is why we like action films. Our sexual mores are often puritanical. Perhaps that is why the film dosage of sex is pulling people into darkened theaters.

"But don't we need a few pictures of higher quality - a handful that combine the lowest denominators of entertainment with a higher purpose? The great movies of the past have not been exclusively preoccupied with human appetites. The Kung Fu dominance is running its course. Such films will not disappear. They will remain in the standard repertoire along with the Western and the gangster movie. Hopefully, they will not be the only film category by which Chinese are known to the rest of the world. Some Chinese history is yet to be treated honestly and interestingly.

"Who will be the first to make a film that will do justice to Confucius and answer the Communists?

"Who will present the Dowager Empress in her strength and her frailty and foolishness?

"Who will tell the story of Dr. Sun Yat-sen in its essential simplicity?

"Who will mine the richness of the Ming dynasty and early Ch'ing times? Who will tell of Tao, the Silk Road, Koxinga, and the invention of silk and paper?

"Other Asian countries have similar unmined heritages awaiting the scenario writer and imaginative producer.

"Not that we want to bury ourselves in history. As yet we have no good movies on children or adolescence. The old are comic figures, although in real life we usually respect age.

"The Golden Age of Asian movie making is in the future, not the past."

Asian films express the customs of lands which are alike and yet different. The Japanese have been the most daring in expressing new themes and breaking through into previously verboten territory. Chinese movie makers of Taiwan and Hongkong have been the most successful in carving out an international market. Both Korea and Hongkong have done well in comedy.

The films made in the Confucian cultures (this would include Korea, Japan, Taiwan, Hongkong, Singapore and South Vietnam) have a tendency to emphasize family solidarity, filial piety and other teachings of the Sage. From Thailand to the south and west, the cultural roots are other than Confucian. Buddhist, and Muslim and Hindu themes are stressed.

There are other interesting differences. In Chinese movie making, the actresses are the big office draws and earn the biggest salaries. With a few Kung Fu exceptions, leading men are not regarded as especially important. They are expendable. This is less true in Korea and Japan. Still, the actresses of those countries also tend to overshadow the men.

In Thailand, on the other hand, the heroes' names go up in lights and the heroines are a dime a dozen. Popular Thai actors may make several features at the same time, racing from one to another to change role and costume. The pace is so hectic and the budget so tight that actors in action films must do their own stunts. Some stars have been killed or injured.

Nationalism is a familiar theme in the films of the Republics of China, Korea and Vietnam, all of which have been at war with the Communists for many years. Hongkong, on the other hand, turns out only a-political films. Historical epics go well in all Asian countries. So do retold fables and folklore.

Documentaries of the Asian film studios do not measure up to those of the West. Skills are still in the process of development and the market is small. Asian governments which wish to send out good documentaries for information purposes often call upon the professional know-how of the United States and Europe. One of the Republic of China's early documentaries, "Fortress Formosa," which was made by a U.S. producer, won favorable comment in the United States and was shown in leading theaters, including New York's Radio City Music Hall.

With endless cultural color and magnificent scenery, Asia is a perfect location in which to make documentary films on travel and educational themes. For Western movie companies, the obstacle seems to be transportation expense. However, both American and European television and movie companies are making increased use of Asian locales. Asian movie makers have long cooperated by exchanging stars. The traffic between Hongkong and Taiwan also includes directors, writers and tunesmiths. Similar cooperation between Hollywood and Asian studios may be in the making on a more meaningful scale.

Movie making costs are much lower in Asia than in the West. With only a few exceptions, stars come and go. Their salaries are modest; so are those of technical personnel. An Asian picture with a budget running into several hundred thousand U.S. dollars is a colossal production. Such an amount is only the starting point for a Western film of any consequence. Hollywood does have the big advantage of bank credit. Asian bankers would as soon turn their money over to a robber as advance it to a movie company on speculation.

But the biggest asset of the movies is the same, East or West. This is the film fan, often feminine - the steady moviegoer, the buyer of movie magazines, the follower with an incorrigible appetite for news of the industry and its luminaries. Film periodicals are among the biggest newsstand sellers in most Asian countries. The glamour may have disappeared from Hollywood but it's still alive at studios in Hongkong, Taiwan, South Korea, Japan and other lands of the East such as India, the world's biggest maker of motion pictures.

The Asian Film Festival, which helps to satisfy the public's interest in cinematographic arts and performers, has had its ups and downs for two decades. But the show goes on. While peoples of the world are still free to become someone else for two hours or so in a darkened theater, it will never be otherwise.