Cai Chusheng

This is a Chinese name; the family name is Cai.

Cai Chusheng
Chinese name	蔡楚生
Pinyin	Cài Chǔshēng (Mandarin)
Born	January 12, 1906(1906-01-12) Shanghai, China
Died	July 15, 1968(1968-07-15) (aged 62)
Occupation	Film director
Years active	1930s–1960s

Cai Chusheng (Chinese: 蔡楚生; pinyin: Cài Chǔshēng; Yale: Choi3 Cho2 Sang1) (January 12, 1906–July 15, 1968) was a Chinese film director of the pre-Communist era. Known best for his progressive output in the 1930s, Cai Chusheng later became a victim to the persecutions of the Cultural Revolution. His remains are kept at the Babaoshan Revolutionary Cemetery in Beijing.

Biography

Early career

Born in Shanghai to Cantonese parents, but raised in Chaoyang, Shantou, Guangdong. Cai only had four years of formal education. Cai was home-schooled after he had spoken up for his class about the misbehavior of a teacher. He studied Confuscianism and practiced calligraphy and painting. Cai never compromised for quality. Cai Chusheng initially worked in low-level positions in several small studios during the 1920s, before eventually joining Mingxing Film Company as a director's assistant to Zheng Zhengqiu, another Chaoyang-native. Cai later joined the Lianhua Film Company where he directed a handful of mainstream popular films including Spring in the South and Pink Dream (both 1932). He would not cement his reputation as a leading leftist filmmaker until after the Japanese attack in 1932, when Cai, like many of his colleagues, shifted towards increasingly progressive or leftist filmmaking. This shift can be seen in output after 1932, including the class-struggle dramas Dawn Over the Metropolis (1933), Song of the Fishermen (1934), and the proto-feminist New Women (1934), which starred Ruan Lingyu. Song of the Fishermen, for example, was a major box office success in Shanghai where it played for 87 days, and it would also became the first Chinese film to win an international prize, doing so at the Moscow International Film Festival.

Hong Kong and wartime

During the war, Cai fled first to Hong Kong, where he helped launch Mandarin language cinema with Situ Huimin. In Hong Kong, Cai would also direct two films, including an anti-Japanese thriller. Cai was also a pioneer in making films in local dialects. Cai was the first to make movies in Cantonese. He also made movies in Chaozhou dialect. When Hong Kong fell to the Japanese, Cai fled to Chongqing, China's wartime capital, where he joined the government-run Nationalist Central Film Studio.

Post-war career

Cai's post-war career saw him returning to Shanghai and becoming a leading member of the Lianhua Film Society (later incorporated as the Kunlun Film Company). His collaboration with Zheng Junli The Spring River Flows East (1947) also proved to be a major film and popular success in the brief "Second Golden Age" of Cinema that followed the end of the Second World War. Following the Communist revolution, Cai worked mainly in major government administrative tasks. He also actively involved in promoting Chinese film industry and also formed an organization to monitor the quality of movies and to recognize talented artists in the industry. He did make one major post-1949 film, Waves on the Southern Shore (1963). As the Cultural Revolution began to gain momentum in the late 1960s, Cai Chusheng, like many artists and intellectuals, became the target of persecution. Cai was forced to self-criticize and admit in writing of his mistakes. Cai was tortured which had led to his early death in 1968. His ashes is now placed at the Babaoshan Revolutionary Cemetery. The house where Cai spent his youth is now a museum which is designated by the Chinese government as a certified historical attraction. Cai is honored from time to time at major events like the World Expo 2010 and film festivals.

In Stanley Kwan's 1992 biopic of Ruan Lingyu, Centre Stage, Cai Chusheng is portrayed by Hong Kong actor Tony Leung Ka Fai. Ruan was one of the Chinese most prominent actress. This film is about Cai's controversial romance with Ruan. Ruan's death was caused by the news media's irresponsible criticisms. Ruan committed suicide at the age of 24. Cai condemned the press which had sparkled the echoing effect to raise the public awareness of the importance of the conduct of the media. With Cai's good look, he was mistakenly regarded as a lady's man. Cai was very active in promoting the social status of women. Cai volunteered when time was possible to teach classes to improve literacy among women.

Selected filmography

Year	English Title	Chinese Title	Studio	Notes
1932	Spring in the South	南國之春/南国之春	Lianhua
1932	Pink Dream	粉紅色的夢/粉红色的梦	Lianhua	Also known as A Dream in Pink
1932	Facing the National Crisis	共赴國難/共赴国难	Lianhua	Co-directed with Shi Dongshan, Sun Yu, and Wang Cilong
1933	Dawn Over the Metropolis	都會的早晨/都会的早晨	Lianhua
1934	Song of the Fishermen	漁光曲渔光曲	Lianhua	First Chinese film to win an award at a major international film festival
1935	New Women	新女性	Lianhua
1936	Lost Lambs	迷途的羔羊	Lianhua	Also known as Lost Children
1937	Fifth Brother Wang	王老五	Lianhua	Segment of an anthology film, Symphony of Lianhua
1939	Orphan Island Paradise	孤島天堂/孤岛天堂	Dadi
1940	Boundless Future	前程萬里/前程万里
1947	The Spring River Flows East	一江春水向東流上集/一江春水向东流上集	Kunlun
1963	Waves on the Southern Shore	南海潮

See also

• Zheng Junli

References

• Pang, Laikwan. Chinese National Cinema. Routledge (2002). ISBN 0-4151-7290-X.
• Pickowicz, Paul. "Victory as Defeat: Postwar Visualizations of China's War of Resistance." Becoming Chinese: Passages to Modernity and Beyond, ed. Wen-Hsin Yeh. University of California Press (2000). ISBN 0-5202-2218-0.
• Shen, Vivian. The Origins of Left-Wing Cinema in China: 1932-1937. Routledge (2005). ISBN 0-4159-7183-7.
• Xiao, Zhiwei. "Shi Dongshan" in Encyclopedia of Chinese Film, ed. by Yingjin Zhang and Zhiwei Xiao. Taylor & Francis (1998). ISBN 0-4151-5168-6.

External links

• Cai Chusheng at the Internet Movie Database
• Cai Chusheng at the Chinese Movie Database
• Cai Chusheng at the BFI Film and TV Database
• Essay on Cai Chusheng