Shanghai Cheongsam Amorousness in Films and Novels Author: the elegant story
I used to be very fond of Ye Qingcheng’s compliments about cheongsam: “Shortly after the city lights were on, a beam of cheongsam came with faint fragrance into this world of mortals, no exaggerated materials, but only the colors and structure of butterflies, graceful and restrained to the max, while boldly showing off sexual attractions. Quiet, yet alluring, classic and sexy, the ones in cheongsam is like a peom in-between the blossoms.”
Everything amorous and charm about cheongsam has been incisively depicted by her pen of magic.
The description about cheongsam by Zhang Ailing was even more imaginative, relating to the character and personality of the heroines, leading one lost in wild and fanciful thoughts. In “Ban Sheng Yuan” a light pink cheongsam wore by the heroine Man Zhen, “a thin, narrow plait lace in black and white attached to the edge of the cuffs”. The first time Man Lu shown up, she was in an apple green soft satin long cheongsam, when she met Shi Jun, she wore a black long cheongsam, the splits of the cheongsam were decorated with a row diamonds. Two sisters, differed in both appearance and personality. In “Feng Suo”, Wu Cuiyuan wears a white silk cheongsam, with a narrow blue edge, just like her character, pure like water. While the moon white chiffon cheongsam taken off by Bai Liusu in “Qing Cheng Zhi Lian”, perhaps it was soaked in moon light. The moon, the teardrops, leaving memories, sadness and pity behind.
The shame is that in my trifling life memories, I can hardly find the existence of cheongsam. The only impression was the waitresses who work in the luxury hotel wearing red cheongsam, regardless of their appearance, they all traveling through the night lights and crowds, with a dull professional smile on their faces.
When did the breath-taking beauty of cheongsam gone out of our lives?
Maybe only in the dreams of films, through distant ages, by the jade body of a flower like lady, at a mild scented dusk, the ancient soul hiding in the cheongsam would blossom with slices of litheness and fragrance. Perhaps only the stunning beauty in the films could recur the addictive sensation that lasted for thousands of years.
Take Maggie Cheung for instance, If you had ever seen “In Mood For Love”, you would never forget the dazzling cheongsams she wore in the film.
In the dim aisle filled with gloominess, blossoms of brilliant purples and reds shown up in a sudden, it’s hard to tell whether it is youth, love or passion, so intense, beautiful yet muddled. Under the dim light, her charming visage was like a rose in full blossom, yet it feels like it’s going to withered in the next second. However, Maggie was even more spectacular in another film “Ruan Lingyu”: slightly curved hair, a confused expression in her eyes, a vague smile hiding a slice of sadness, surpassing beautiful cheongsam embellishes her short yet glamorous life. Such a lady with extraordinary beauty is to be yearned by any man.
And there is Anita Mui in “Rouge”. The lady ghost with a unreasoning passion for love in a floral cheongsam, walking quietly in the boundless dark cold night, cold yet charming, desolated with a slice of bitterness, sad and mild.
In the novel of Li Bihua, she described the appearance of Ru Hua when she was about to kill herself: “she was in her finest dress, a loose light pink cheongsam, with chick wing sleeves, the collar and the cuffs was edged with purple and peach red lace. She looks like a five-petal peach blossom” although gorgeous and lovely, it’s not suitable for Anita, I personally preferred the ghost like coquettish in the film.